Jump to content

All Activity

This stream auto-updates     

  1. Past hour
  2. Today
  3. Esper, And also composers in need of lyricists. 🙂 Checking out colleges for singers is a great idea. Thanks for your feedback! -Rick
  4. Hi, I wrote this piece with an intention of taking just five simple notes (which are the first five notes of the lick by the way) and turn it into a memorable motif. Here is the result: I would appreciate any feedback, not only on the music but on the production part as well (eg. mixing). I'll attach a score on this post, just in case. Finally, there is another piece that I wrote recently and which I published in the "Large Ensemble" section. However, now I feel it might have been more appropriate to post it here. So, if you have time and you haven't seen that piece go check that out as well: https://www.youngcomposers.com/t39092/bloody-mercenaries-feedback-or-thoughts-on-my-piece/. I would appreciate it a lot. Again, I would really love to hear your thoughts!
  5. If it is something you are interested in, go to your local college and see if people are looking for composers. I am sure there are many singers yearning to have a composer behind them.
  6. Joshua Bell -This is the best solo violin VST I've found. I am waiting for it to go on sale. Also, Tina Guo makes a good solo cello. I do not know of any viola or double bass vsts -aside from the one's from VSL and EastWest. But I am sure they're out there! Take a listen to the Joshua Bell link. It sounds amazing. https://www.embertone.com/instruments/joshuabellviolin.php https://cinesamples.com/product/tina-guo-vol-2
  7. Is it Solo strings? I need it for Solo pieces (like Solo violin)
  8. It sounds like an intense piece of a soundtrack. How long did it take you to create?
  9. I like EastWest Hollywood Orchestra Strings. You can buy the entire orchestra on sale for about $300. http://www.soundsonline.com/hollywood-orchestra
  10. You are absolutely right on all of these points. If we invert Viola Contrabass I still do think that the redundancy of the process or maybe the length of the passage is too much.❤️ My idea is to show the concepts not narowing them to an antique style.
  11. The descending scale in octaves offset by a quarter beat already establish the parallel octaves (parallel double octaves in this case). So I'm not overly concerned that this passage violates the sacred, eternal rule of no parallel octaves. My concern on the octaves is the tendency of strings to strengthen when playing at the octave. One only has to gander at the quartets of haydn, mozart, and Beethoven to see octave doublings abound in string writing- for dynamic and timbre purposes. My concern is that the bass is playing fast material that would fit more idiomatically in the viola part and vice versa. It's clear the composer isnt going for antiquated contrapuntal observation -even the first part isnt quite 16th century.
  12. Hi jawoodruff, Contrabass is indeed sounding an octave lower than written and I'll explain what I meant. in the bars 14-19 every time the Viola plays a note (ex bar 14: Fsharp/A/Csharp/D) we can see that the Contrabass is attacking the same note one or two octaves lower at the same time (the interval being an octave or a double octave is considered as the same in this case). This passage contains not 2 voices but 3 wich help me explain what I said: 1-Viola part 2-Contrabass first quarter notes of each beat (wich is playing always one or two octave lower than the Viola) 3-the remaining of the other quarter notes played by the Contrabass (an actual repeated Fsharp) that is considered like a static voice. We do have voices 1 and 2 that are playing at one or two octaves of distance all the time. The problem is that, the way this passage is written, it accentuates each first quarter of the beat by playing octaves wich is the most transparent interval (not considering the unison). Accentuating on something that pure and stable than an octave each beat makes the music kind of stopping every time it is accentuated. If we look at this passage page 3 http://conquest.imslp.info/files/imglnks/usimg/d/d3/IMSLP01135-Bach_Tocatta_%26_Fugue_D_moll_565.pdf we have the same sort of writing. At 2.45 we consider 3 different voices: 1- highest voice repeating D in quarter notes (it is not exactly what plays but this is the idea) 2-intermediate voice in half notes begining with C/Bfkat/A/G etc... 3-lowest voice with F/Fsharp/G/C/Bflat etc... Voices 2 and 3 never play two consecutive octaves because it is considered weak in the tradition for various reasons. One of them being that this weakens the harmonic aspect of the music. When you play consecutive octaves you don't make the harmony progress.
  13. Um... you do realize that this is virtually impossible right? The Cb sounds an octave lower than written... meaning that the passage you mention would be played in a much lower range than the open C string on the viola! Honestly, I think if he placed this material in the viola and the bass played the quarter note... this passage would be fine with the right articulations.
  14. Good Lord! Lucky it didn't ricochet. It might have hit someone in their Bb minors. .
  15. Thank you very much, Pateceramics for your feedback. Of course, there would be many other possibilities to construct the ending, but I decided to wind down the piece the way I did, after the preceeding vigorous parts. Maybe the piece feels a bit strange with its many odd harmonics. It is rather different from my usual style of writing. But it was quite fun to put it together.
  16. Ummm... Thank you for this extremely long but interesting review and for all the help you've given. I'll have a look through the piece and try to fix up bits. Thanks Thanks Thanks😁
  17. Hi PBStu, ❤️ My pleasure to review your piece ❤️ I'll take from the beginning for more clarity. Write your nuances cause it's really important for us to be able to feel how tragic or calm you want your music to be and how it changes. ❤️ You are definitly adopting a contrapuntal style in the beginning and it makes total sense with Baroque music. There are at minimum 3 principles that structure this kind of composing. Counterpoint definition: https://en.wikipedia.org/wiki/Counterpoint 1) Melodic quality: Counter point is a style that revolves around vocality and polyphony (wich is how to combine melodic lines). The quality of the melody is always important. As personnal or traditionnal the melodies you compose can be, the more interesting they are on their own the better. When you play them separatly idealy they should be epxressive, have their own purpose like their own personnality. -For exmaple bar 3 to 5: The Viola melody (and therefore the Cello line) seems a little bit systematic wich makes the line predictable. Although you are making a strict canon in this short passage wich is very clever, the systematism of the line makes it a little too rigid. Here a random example from the Bach's canons: https://imslp.simssa.ca/files/imglnks/usimg/f/f7/IMSLP88821-PMLP18465-BWV_1073.pdf. If you look at the melody used for this canon, the melody doesn't repeat itself too much because it is already going to be repeated through the other voices during the canon. 2) Rythmic complementarity: It is important for the clarity and the interaction between the lines and the motifs you are using. bar 3 -5 is a good example of the kind of things you can do with rythms: Viola plays half notes when Contrabass plays quarter notes and the opposite and your motif alternates from one voice to the other. They are not stepping on each other toes. It's the same thing as in a conversation, you don't want two people to talk about complicated unrelated things at the same time. 3) Harmony and intervals between notes. When two voices are playing at the same time you can hear intervals between them (example at bar 1 you wrote a 3rd then a 5th, 8ve,6th, 8ve). The sequence of intervals created by these two voices singing together determines a lot how well your counterpoint is going to sound. Whitout talking about how counterpoint uses intervals traditionnally I'd just say that the first thing to do is to play your piece slowly listening to these intervals and judging if you like how they succeed to each other. *🧁You can look at that if you want it's written with two voices only 🧁 Bach 15 Inventions https://ks.imslp.net/files/imglnks/usimg/6/6b/IMSLP396133-PMLP03267-Bach,_Johann_Sebastian-Werke_Breitkopf_Band_3_01_BWV_772-786.pdf 🐞In your piece you can begin by trying to avoid writing things too similar between your two instruments. For example bar 9-10 they both play the same things in octaves but it won't sound very good. At bar 14-18 The Cb. is playing the octave of Viola on each first quarter note, same it won't sound very well returning every beat on the octave. It is also very true to be carefull with the writing of the Contrabass that can easily overwhelm your Viola part with too much quarter notes. I hope it Helps ! 🦸‍♂️
  18. Haha! One of my professors did a recital playing a piece by Berio during which he blasted out a fff up at the sky with his trombone, then took off his top hat to catch the note as it came back down.
  19. Yesterday
  20. I'd defy anyone to apply any existing analytic techniques to a work like Berio's Omaggio à Joyce. Quoting WKMT-Juan "Intuition might bring you to the same point but it will just take longer." - The Beatles (particularly McCartney) showed that you don't need any sort of academic musical education to write excellent music. Many who do study CPP theory do far worse and struggle to get something together.
  21. Yes, they'd use the G and D strings which, open, wouldn't ring as they'd be stopped for the B and higher G. All "first position".
  22. Thank you. Hard to hear is just recording problems. I didn't use the upper register... actually I don't know why. Im trying to think of ways to improve the end but i dont know.
  23. What do you believe I should do?
  24. Hi here are two solos under the same topic and piece "blue moment". They are only single instrument lines with no accompanion or background. in those soundfont - mp3 file i selected trumpet and bassoon as main instruments but flute and maybe guitar could play them as well. this could be played half octave lower as well.
  25. Haha, I put in a contrasting B section with dotted-half note pizzicatos in an attempt to make them hate me less
  26. What is "convincing" here? More convincing is when a cadence resolves by semitones from tritone, I suppose. That's what centuries of tonal music has left us. But before, there where 1000 years of modal cadences, and they were totally convincing. As @Monarcheon mentioned above, the V - I cadence has been replaced by IV - I (or IVm - I) in pop music. Academic music of our days doesn't use this kind of cadences.
  27. Yeah, then absolutely fine, though I'm not sure if they'll like you all that much, Jenkins 2.0.
  28. @Monarcheon ah should've mentioned tempo. Allegro, about 130 bpm @aMusicComposer -- Thanks!
  1. Load more activity
  • Create New...