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  2. Composition completed on 01/25/2016 You also can watch this piece here -
  3. Composition completed on 01/21/2016 You also can watch this piece here -
  4. Thank you! In my scores it looks so ''CC'' ( like in Schubert's Impromptu G flat major) but (it seems to me) Musescore (or my version of this program) doesn't support this rhythm. And as a result I decided to do it like this.
  5. I think there is little motif variation in the subject. It's a challenge.
  6. After finishing my Dr. Caligari soundtrack, I've returned to working on the second of my soundtracks for the Thrawn trilogy from the Star Wars expanded universe, and thought I'd post a track that I just finished. This is from early in the book, and incorporates John Williams's main theme and the Force theme, as well as introducing a new motif for a secondary villain. Any criticisms would be greatly appreciated as I revise this track and work on others. Thanks!
  7. Yesterday
  8. This is concerning the fugal variation of Beethoven's fifth that I am working on. I have been told by others that my current fugue subject is just too short to make it work and that I should add the next 4 measures of Beethoven's fifth to my subject. That means that I'm going from having this as my subject: To having this as my subject: Does my subject really need extended though? I mean, 10 measures sounds more like the length of a sonata theme than that of a fugue subject. And Bach has made do with much shorter subjects. Some of his fugue subjects are less than a measure long.
  9. It seems like you wrote the organ part and just copied out to the other instruments. It would suit the piece much more to have the instruments play the roles of the arrangements in support of each other rather than acting as simple stops of the organ. Simply adding dynamics would improve the piece much more. Try not to use mf and make a decision on the dynamic either of the ways. Then think about phrasing and slurring of the bows. Notation wise have the horn at the top and organ between brass and strings. Dynamics in trumpet 1 bar 5 is unnecessary since it had it in the beginning. Organ missing dynamic bar 1. Bar 18 the strings would need dynamics. Also the last four bars have extra hairpins above the system? It seems to me you are relying too heavily on the comma. Try not to use it notation and take deliberate choices on note length.
  10. I would encourage you to study up on string bowings. Your slurs are way too long for how it would be performed.
  11. Hi Samuel 🙂 I really enjoyed your piece. You're quite a talented composer for sure 🙂 Hang on !
  12. Oh! This sounds like the music the bands play in my region.... I like it, by the way.
  13. Actually, this is a nice piece. The two instruments talk to each other efficiently. I have some comments on - The broken triplets are a bit odd in m. 19-24 - However the sextplets in m. 55... are nice - Why so many octaves (doubling) in the bass? A matter of taste, I always keep them for special moments. - Not sure about so many parallel fifths with the violin in . 77-89 Not because of the sonority, which I like, but because I think fifths are difficult to play in strings. - Finally, the cuadruple stops followint the above are excesive (and playable?).
  14. It's difficult to transmit or communicate feelings with music. Many people say music doesn't mean anything, and probably it's true. But I think we can put our sensations in our works. This piece talks of joy, to me. It's very beautiful and pleasant. I'm not sure about the effect of the violin in m. 14-17.... I also think the piece needs some rests, some pauses. Until 1:30 there's no stop. Trepidant.
  15. It's nice. I always think this kind of music is related to something (visual).
  16. Hi Is the bass in the A section of the A section(bars 1-8 and 23-30) too dense? It's OK for me. It has the rhythm of a polonaise. In the consequent phrase(bars 5-8), is the bass too close to the melody? Should I bring it down an octave? I'm just asking here because I noticed the bass and melody come close enough to form chords in my consequent phrase. In m. 6 the melody is mixed with the other hand. I would rise the melody an octave, instead, at this point. In m 28 and 29 the voices are crossed, it's not good. In the B section of the A section(bars 9-22), am I handling my chromaticism correctly or not? It sounds a bit weird here. In m. 16 you have many non-chord tones together, and with the Bb in left hand you have a tritone (Bb-E), when Bb is played you need a consonant note (D for example). In the other measure he tonic F clashes with F# although it's a secondary note, its doubled. With C in left hand you have F a fith it's OK but we don't now it the chord is F or Fm or Fm7 ? It's ambiguous. Is it too much of me to expect a pianist to play a polonaise rhythm in octaves for the whole B section of the A section? I think a good pianist can do it. But, it's my personal opinion, I don't like writing octaves unless necessary. Many octaves break the effect. Do I smoothly transition into the inversion(left hand becomes right hand kind of inversion) or not? When does it happen? Is my A section too repetitive with 2 periods and a motive sandwiched between the 2 periods and the repeat sign? I'm not very fond of entire repetition. I think that's a technique of the past. When I repeat a period or something like than, I always make changes. Is 30 bars enough for the A section of a piece that I expect to be 200 or so bars long, or should I extend my A section further? Why do you think of the length of the piece? I prefer to focus on the material. I don't care if the piece is finally short or long. Long pieces with poor development ( I mean variation ) are boring.
  17. It sounds nice but it's very difficult to stay in actual rules of baroque counterpoint. That's why I don't see the point to write this kind of things, unless it's an exercise.
  18. Amazing work! I think it's greatly done. The second movement is quite beautiful.
  19. It isn't complete yet, but I have made it through a major milestone in writing my polonaise, finishing the A section of the polonaise. I would love some feedback on what I have so far of it. The A section of the A section is what my first few questions are about and is the exclusively diatonic section. The B section of the A section is more chromatic. I am asking these questions because they came up to me after listening to my own polonaise a few times. Is the bass in the A section of the A section(bars 1-8 and 23-30) too dense? In the consequent phrase(bars 5-8), is the bass too close to the melody? Should I bring it down an octave? I'm just asking here because I noticed the bass and melody come close enough to form chords in my consequent phrase. In the B section of the A section(bars 9-22), am I handling my chromaticism correctly or not? Is it too much of me to expect a pianist to play a polonaise rhythm in octaves for the whole B section of the A section? Do I smoothly transition into the inversion(left hand becomes right hand kind of inversion) or not? Is my A section too repetitive with 2 periods and a motive sandwiched between the 2 periods and the repeat sign? Is 30 bars enough for the A section of a piece that I expect to be 200 or so bars long, or should I extend my A section further? Here is the link to my polonaise score: https://musescore.com/user/50070/scores/5682039 How else do you think it could be improved? Right now, I'm thinking of what to put in the B section of my polonaise.
  20. Last week
  21. Samusiq

    WALLS

    AN EDM TRACK
  22. Hi. Nice piece. your music is like a little universe of timbre.
  23. Lovely pieces. Sometimes the two violins are very close with dissonance. I don't mind them but don't know if was intentional, having in mind the style.
  24. Very beautiful and passionate. Why 2/1? In fact you subdivide it in parts as a 4/4. Well, you can write is as you like. But is less clear.
  25. The "problem" with this kind of pieces is that somethin's lacking because one has the idea of the tile/description in mind. I always try to take this music as music. For me, many times they create a sort of "atmosphere" or "soundscapes". The changing rhythm is what makes this one more interesting, and that dissonance of a second.
  26. Emotional piece. I like it. It reminds me the style of nordic composers of our days (but without any dissonances, perhaps).
  27. I like it very much. The way you take advantage of the register of the piano is beautiful. I also like how "tonics" are established by using pedal notes.
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