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  2. Greetings everybody, I'm new to this forum and this will be my first post! A track I finished today, inspired by the legend of Merlin and Arthur. Any feedback would be appreciated, enjoy!
  3. I've been working on and off on a piano sonata in the classical style (Mozart/early Beethoven inspired). I've previously posted the first movement awhile back and greatly appreciated the helpful feedback on it. This is a rough draft of the final movement, intended to be in sonata-rondo form. I have a bit of a block, so the ending so it's kind of perfunctory and I definitely intend to rework it. Also I wonder if some of the harmonies are a little off. Thanks for listening!
  4. Today
  5. Below is the fourth prelude. my prelude in C# minor. I view C# minor as a very unstable key. no idea why and I tried to reflect that in this piece. Leave thoughts down below much appreciated 馃檪
  6. Hello T贸nsk谩ld, I was very glad to read your words, Thank you ! (I made some small changes in the score, mainly based on the suggestions from DirkH)
  7. Yesterday
  8. And I'll repeat. "About 99% of what's worth saying can't be put into words. Talking about what music sounds like is useless. But it does keep all these musicologists and hangers-on - failed composers and artists, most of them - off the welfare queue, doesn't it?" By the way, I couldn't find any of your compositions on the site. Have you a link to any (music (that you have composed)). That's the limit of anything of which you can inform me in a reply, thank you.
  9. Thank you very much for you uplifting comment, im glad you find the music interesting. The piece has not been revised, that is something i will do when I have time. There are som paralles that i did put on purpose there (the dillema between what the music wants and what the rules says) look at ms: 196 - 197, 198 - 199 and 230 - 231, 232 - 233 - the soprano line and bassline. But there sure are some non intentional mistakes too. I might also write do some harmonic changes when i write out the continuo part. Thank you very much Markus, im glad you enjoyed it. To your questions: Back in 2011 - 2013 i wrote mainly music in the early baroque style after Stradella and Corelli. I wrote 13 concerto grosso, 5 trio sonats, and some sonatas for violin and keyboard. I started to write baroque music in the italian style in 2005/2006, but had a period where i wrote more in the german and north german baroque language. From 2014 - d.d i have many written music in the late italian school after vivaldi. I have not looked at a concerto grosso since i wrote my last one back in 2013. I am familair with Vivaldis work, but im more concervative in the concerto grosso style. I love hes d minor concerto though, its amazing. In not very familiar with Handel, though is pretty close to Corelli in style. My main influences have been Stradella and Corelli, and some Loctalli, Torelli, Merula, Gabrielli, Monteverdi. But i have aslo been deeply inflyuenced by Buxtehude and Vivaldi. This Concerto Grosso is more of a hybrid in style, as the late baroque technique is present at some parts. My earlier concerots is more true to the early italian language. I have a bachelor in organ, where i also hade traditional composition (not that i learned anything new there), Mainly im a selftought composer, listening, living and breathing the style of music i want to express myself in is how i learned it. I have also given lessons in baroque composition for those who are interested, that is acutally something that both where benefital for me as well as the student. Thank you for your comments guys.
  10. Why say anything at all? About 99% of what's worth saying can't be put into words. Talking about what music sounds like is useless. But it does keep all these musicologists and hangers-on - failed composers and artists, most of them - off the welfare queue, doesn't it?
  11. A brief trip around a tropical isle, the happy, the impoverished, the feel of dance. 5 minutes. Please give it a listen. Thank you!
  12. been focusing on practicing more than composing but here's a lil somethin I came up with
  13. Last week
  14. Yeah that's the thing I said. These "debates" usually go nowhere because the beginning arguments are pretty flawed, so it turns into a game of semantics and personal feelings and opinions, which we can SHARE, but necessarily debate. I'm all for sharing opinions, sure, but to have an actual discussion there needs to be something that can be argued without falling into those previous trappings and with art that's nearly impossible. We can discuss musicology, theory, history, all that, but if someone thinks that X composer is trash, well that's not conducive to a discussion. Also, why discuss at all? So, to get anything out of a discussion you need to want to get something out of it too, and that something can't be just the inherent competitiveness of it. No, it needs to be a desire to actually examine your own statements vs those of other peoples and see if yours hold up. Believe it or not, I became an atheist due to debating religion, and I have changed many things about my self and my opinions by contrasting them with others. It's a crucial part of trying to assess if what you believe is at all close to something resembling "truth." You gotta be honest enough to know that there are a lot of things that go nowhere even if they may feel like they're discussion topics, since they end up just being either excuses to rant on about stuff you don't like, or the opposite, looking for legitimization for things you already do but aren't sure. But the only way to get any better at any of it is actually trying and failing, just like anything else. That's why I think it's worth it to discuss things, even if the discussion may seem pointless, you never know what others may actually take from it that is valuable to them.
  15. I think if you want a more clear answer. You need to define the word purpose. Music can have an array of purposes. However I don't think it's ever clear. An architect builds a bridge for the purpose of transporting people to and fro. Does music have such a function? I don't know. I don't think anyone does The only thing I have to contribute is sometimes the whole 'lets debate music' can go too far. Because aside from analysis, we are essentially talking in circles. Anyway that's my take.
  16. Charming as usual, @panta rei. When I put on your music, I just can't stop listening. It flows so very well. Great job!
  17. When you put it like that I can see the purpose of it. perhaps if you write more you could include a brief description of the etudes purpose in the title box. I'm not a teacher other than just trying to help my friends when they struggle. so I am not 100% sure either.
  18. Hey Guys! I'm new here and I'm glad I found this forum. Can't wait to share opinions on composing. I recently took part in the Spitfire Audio | Westworld Composition Competition, where it was needed to create a score for a car chase sequence. https://www.youtube.com/watch?v=AKu0-OV1CkQ I am deeply influenced by John Williams ( as a modern film composer), Prokofiev, Stravinsky and Debussy ( as the oldest ones 馃槈) Did some of you participated as well?
  19. I've prepared three (!) basic orchestral midi mockups of the polar express suite. Trying to pin down which one sounds the best. Now I guess I'm biased. So I'm asking you: which one do you prefer? In random order they'll pass (starting at 4:05 - so if you wanna skip my talk, go ahead): only tree mics and no extra panning my personal mic preferences with extra panning in Kontakt my personal mic preferences with extra panning in Precedence So let's vote! https://youtu.be/hfAVNYpUJvg Next week I'll return to this video and share the winner. Of course, we run through the midi mockup and the settings in detail. Libraries used: Spitfire Audio Symphonic Woodwinds Spitfire Audio Symphonic Brass Spitfire Audio Symphonic Strings Spitfire Audio Chamber Strings Spitfire Audio Percussion HZ Percussion 8dio Lacrimosa (female and men) 8dio Liberis Audio Imperia Jeager Violins NI Symphony Series Brass NI Symphony Series Percussion NI The Genteman Cinesine from Cinesamples Sonokinetic Modal Runs
  20. Well i just looked back at my files, and it took approx 1 month to write a quite basic orchestral sketch. That was like version 1 (V1). It took another 3 month to finish the orchestration (V50) + export all the audio files from Sibelius played by Note Performer to load into Reaper, and tweak the dynamics and everything until i'm kinda satistfied + preparing the final score. Of course Note Performer makes everything easier, but still the afterwork always seem to be much more work, than just simply writing a piece. I can see now why professionals in the industry outsource the orchestration part, the score preparation and mixing parts to different teams/people, it takes like forever for one person. But i like these longer projects one can learn a lot by just writing one of these.
  21. How long did it take you to compose this? The interwoven sections must have took a long time.
  22. sounds very good so far. I like the relationship with the descending scales. quick question. what sound library are you using? it sounds very clean and I would love a similar set of sounds.
  23. Hello DirkH, Thank you very much for your feedback. You are right about ms 4 and 58. The b-double flat should be noted as an a-natural. In my initial outline of the score, the note was a b-flat, but then I wanted to diminish it with a semitone step. Automatically, I noted it then as a b-double flat. But now I see that this note can also be derived by augmenting an a 鈥揻lat to an a-natural. And you are right! This is the better (and correct) notation. (If fact, I did it also in ms 5 ). Yes, there is no logic in having slurs in ms 81. I will remove them. A pedal mark might have been an option, but I won麓t put it there. It is up to the performer to use the pedal or not. Yes, I could agree with you to remove the fermatas. The main reason I placed them here was to avoid too fast transitions during the electronic playback. In a real performance, the pianist will automatically add any short delays, when he/she feels this to be necessary. The D-major middle section? It is there to avoid monotony, and I was actually rather content with it. But as you said, it is always a matter of personal taste. I want to thank you again for your excellent comments! (And I will make the suggested changes in the score). Best regards
  24. This is quite an achievement Simon. It is very authentic in style of Corelli, may I ask where and how you learned your craft?
  25. Wow, thats definitely among the best compositions Ive ever heard in the forum. Your music have a very genuine baroque style. I've written some baroque inspired music, but I find your concerto outstanding...I'm quite impressed. I didnt analyzed it in detail, though I find your counterpoint very right with lots of suspensions, but very comprehensive and natural at the same time. I've hear it in a time and cant find any weak points or remarks. I'll make a closer look at the score, because its very interesting...I also love the fugato style you use at the begining of some sections and the contrast between movements. Interesting the symbology of the GMajor key as well. All through very consistent work. Congratulations and thanks for sharing! Have you studied Corelli's, Vivaldi's and Haendel's Concerto grossi to inspire you?
  26. The toccata could have used a lot more variation and solo-like instances. There's also too much comfortable counterpoint repetition (I mean, typical fortspinnung but you could've done more with it,) so it doesn't really have the explosive energy you'd expect from a toccata. I guess if you played it faster it would be better, but I don't know. I think it sounds pretty but it doesn't really say much (which is sadly a fault a lot of baroque music actually had haha!) Also, D minor should be bolder, faster, in the norm those pieces are usually pretty aggressive, with plenty of solo moments and changes in texture (plenty of examples for this, I'm sure you're aware.) As for the ricercare, historically a ricercare has no actual form assigned to that name (that's a later thing and when Bach used it, famously, it was his own interpretation of what it would be like. It was a revived term by that point since it was in disuse when he revived it.) But regardless I think it's really boring that you didn't change the textures up at least somewhat. If the intent was to make a fugue, or something fugue-like, it would've helped greatly to vary a lot more how and when the "important" parts appear. It's always the same pattern repeated over and over, which makes it really hard to hear to me. Why did you keep 3 voices running constantly throughout the entire composition? There's also basically no meaningful rhythmic variation of any kind (the 8ths vs 4th typical pattern that run through almost from beginning to end nonstop really kill it.) So yeah, I don't know, I'm not very convinced by the effort here. I suppose it's accurate enough to early 1700, but to me that's neither here nor there since I'm not going to judge it as an exercise since that's not what you said it was. I don't see anything really creative here, only a bunch of patterns we've seen a thousand times before and I can't see where you, as a composer, actually put your own view/creativity on it. Your technique has improved vastly since we did those lessons so long ago, so that's very nice, but that's also why I know you can do better than this.
  27. I guess so, but most of that time will be spent into a piece dedicated to my grandfather. (He's quite ill, you never know...)
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