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  2. This song is the first in a five-movement suite inspired by my time in Iceland. The opening theme uses counterpoint and sustained notes to emulate that feeling of joy-anxiety each new day brings. There is a transitional passage that builds with anticipation into the middle theme, which is harmonically less complex than the first—this is meant to represent that feeling of unbridled peace an early morning stroll in nature brings. The middle theme is repeated in various keys and modulations before the return to the opening theme and the piece ends in a soft, arppegiated finish. Mornings anywhere are special times, but I find them particularly breathtaking in Iceland. There are so few people and so many natural phenomena that one can't help but be spiritually touched by íslensk dögun—an Icelandic dawn. (Be warned: sunrises/sunsets are difficult to catch in high summer and winter, as the sun never really rises/sets.) I couldn't resist incorporating a morning song into a suite about that lovely country! The overall style of the song is impressionistic... you likely won't come away humming any melodies, but (hopefully) you will come away with those feelings etched on your soul for a while. BTW I'm a pianist and, as such, strive to make my piano songs as enjoyable to play as possible. You'll notice quite a bit of hand-crossing, melody-driven left-hand passages, and many other "fun" effects. I think that's enough words for now. Please, enjoy and comment! I always love hearing how the piece made you feel, and what did or didn't sit well with you!
  3. While I am not as familiar with this piece as I am sure you now are, I felt you managed to capture the piece effectively for the orchestra! It certainly felt quite natural. My critique would be to be cautious in excessive line-doubling. For instance, in m. 64, while I understand the rationale in doubling the line of say the first violin, I can envision the woodwinds providing rhythmic accentuation there rather than simply following the lead of the violins (with the second violins following the first, but an octave down, a more resonant logic). The dialogue that you develop between the instruments, mm. 36 - 44 as an example, felt much more liquid and effective. Great job, nonetheless!
  4. I enjoyed this! If possible, could you post the score (it'll help us comment on specifics)? I think you did well with beginning the process of thickening a texture. I think what might help improve this piece would be taking a dense texture and exploring ways to reduce it, then add to it, reduce it etc. Moreover, I think that experimenting more with less regular rhythmic configurations will break a bit of the monotony that can begin to develop; pushing a little further will make it feel less like an exercise. Overall, I think you did a good job!
  5. I really enjoyed this! Suspensions were well utilized, it was orchestrated well (b. 18, for instance), and the length of the piece felt appropriate. At bar 28, I welcomed your inclusion of a sort-of 'connector' between the sections in the second trumpet; perhaps I could have done with more instances of this, though for the chorale-style I certainly understand why you did not (it isn't necessary, I don't think). Good job!
  6. Thank you, Luis! I felt that my catalogue was lacking a set of piano pieces, so I felt this to be the perfect motivator. As for the pieces you mention, the serenade was composed to replicate the movement of the fish in the water -- jerky, flowing, liquid. Occasionally, they kick up sand and create a cloud of uncertainty. The dirge is very different. The notes are deliberately empty, using whole notes and the like to further reflect the feeling of solitude (at least for the pianist who is reading it). It is a stark piece with a measured, cog-like movement. Additionally, I intend for the two pedals to create a compounding effect, in essence, muddying the sound.
  7. @Luis Hernández Thank you for your input! It is those pedal positions that I have yet to understand about the instrument, but I know that I will in time.
  8. Ah ok, as simple as that 🙂 Ok, thanks
  9. When the final note, or the target note, is delayed you have a suspension if the preceding note is upon the final note, or a retardationretard.mp3 if the precending note comes from below.
  10. it has not been recorded properly( I have and old laptop) but I think it worth your time listening cause it comes from someone who doesn't even know to read notes on F clef... I like it and I wanted to know if others like it too.
  11. Hi, here goes a short Choral piece for Brass, Organ and Strings big essemble. I added some reverbs to create a big place atmosphere, like a church. I appreciate your comments.
  12. Hello everyone, I am back, this is my new piece of music, hope you like it, and welcome your commentation.
  13. Thank you @Luis Hernández 🙂 I'm sorry, but could you explain me what a suspended note is ? Only found "suspended chord" in Wikipedia ; is this related ? Have a nice day 🙂
  14. Yesterday
  15. What's stranger about it is that they're not chordal instruments, so unless they're improvising, it's not going to be very useful.
  16. Composition completed on 01/04/2016 You also can watch this piece here -
  17. Yes, I would like that Louis - mstyles@nyc.rr.com Reading scores and listening to the music is a great way to learn. Your piece is very concise and compact. Reflects a lot with a minimum of parts. Thanks
  18. It sounds nice. The chords are confusing because they appear in every instrument according to transpositions.
  19. Its great to listen to, def worthy of any action film! The rhythm you set up at the beginning is great, well thought out and well placed. Personally I thought your melodies could be simpler, less jumpy and more repetitive in order to really drive it into peoples minds (aka Pirates of the Caribbean is really simple and repetitive so people really remember it). Well done Dustin, thanks for sharing, I enjoyed it.
  20. Not written down yet, but I guess I could export the score out of Logic. Will have look at that this weekend!
  21. Then it's OK. The software version makes it too "perfect". Do you know about "proportional notation"? It's another solution.
  22. Thank you for the thoughts! I really want the piece to be free: the final result is in the hands of the performers. I know that it is very hard tp get it in synch, but I do not want to have it in synch. I know the performers really well, so we will be experimenting with it!
  23. Very nice work. I was taught in contemporary composition that not using time signature is good for a solo instrument. When there are two persons playing it can be a problem (not to say in an ensemble or orchestra). Unless you deliberately want an "indeterminate" piece where the players are more or less free to read (which is not the case, I think), it's better to use time signature. Perhaps in the first slow part they could manage it, but in the presto part it would be a problem. (I wrote a piece for three clarinets not using time signature, and my teacher sent it back to me because the players couldn't make it sound good. A lesson I learnt forever). Perhaps your opinion is different...
  24. Beautiful work. Harp is fascinating. Usually, I write intial pedal positiona and changes. I know every harpist can find a different solution, but in terms of composition I prefer doing it, just to now where I am. There are chords that spread more than a tenth (in each hand): those have to be arpeggiated.
  25. Very nice melody. I like it. I'm not an expert either, but it sounds natural for the cello to my ears. Harmony is well defined with arpegiated chords. If I had to comment on something you could try it is this: suspensions. With this evocative melody (and in general) suspenden notes on endings, for example, make it more interesting.
  26. Nice melody and idea. A sad and beautiful feeling. I think a better control of dynamics would improve the piece (yes, I know it's difficult with software). what I think you should focus on a bit is: counterpoint.
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