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  2. Try analysing what points make all of your songs too close to each other, and diverge from that. People often say that music theory is just a tool, but I often find it very intresting to use it as a starting point instead of using it when needed. We often use too much of the same, and if we don't make an effort to change, we rarely do 🙂
  3. Nothing wrong with drawing on everything. I'm in my 40's and I still do it. As for writer's block. It will come back. It's just a matter o time. Don't force it. Usually I draw on some unforgettable circumstances and draw from that.
  4. Hi everyone! I really like writing songs, but recently I've felt like my creativity has washed away with the many simple songs I've written. Sometimes it's lyrics, sometimes melodies, sometimes chord patterns; I just can't think of anything new. Does anybody have any advice for me, like anything they do to find more inspiration? I've tried nature, singing what comes to my mind, and mostly doodling. (I have a very bad habit of drawing on everything!) Any other ideas for inspiration?
  5. Dear All, I am presenting my latest song in this post. I finalized it a few weeks ago. I'll be glad if you listen to it and tell me what you think. Best regards, Velvet.pdf Selcuk Ozer
  6. Dear @Lotsy piano and @Tónskáld I'm sorry for my late reply. Than you for your detailed analysis. I can't tell how much I appreciate these constructive critiques. I'll keep them in my mind. Thanks for helping me to improve myself.
  7. Ah, I see. I don't tend to write with rhythms that lend themselves to this, so that is probably why I haven't seen it before.
  8. Thanks for listening and bringing this memories back. Of course, I love Glass... When I wrote this piece, this dog wasn' going well. In fact he died a few months later....
  9. It's a thing in a lot more modern music where subdivisions and syncopations change frequently and a floating rest can be very ambiguous, especially in multiple layers on a single stave. Or at least it's most helpful there. In standard meter it doesn't seem very helpful, but that's just me. Personally, I'd use it sparingly, but it's situational.
  10. Hello. To be honest, I've never seen this before. I don't think it really matters, as it is still obvious what the notes are. However, some people may think that this is intended to be a different technique, such as letting the note ring through the rest (for percussion), although this is usually written as a slur to the rest.
  11. One of the greatest examples of this kind of thing was done by Schoenberg; you may not like the sound, but it's one of the quartets theorists and composers keep coming back to: https://www.youtube.com/watch?v=L85XTLr5eBE Another personal recommendation for the blend of styles is Prokofiev 1. Lots of moving parts at all times. The middle section of the 1st movement is terrific. https://www.youtube.com/watch?v=3TRIQP7WNkc
  12. I imagine a man sitting in a 50s diner late at night rain falling smoky room, with not a care "at all" as the melody descends chromatically (is that right?) I like how you allowed the bass to lead in the melody at times. And the percussion with the sixteenth notes just before the measure ends does give the feeling of someone nodding their head or trying to get up from a stupor and failing. I enjoyed this overall! Thank you for sharing!
  13. I agree with the points made above. I would like to hear this player by a group of more experienced players just as you arranged it instead of watering down. How you layered the "where you belong..." section was beautiful. It was full sounding and chord choice was excellently picked. Thank you for sharing!
  14. This was sweet. I tried to imagine a gentle active dog prancing around. It was easy for the most part. I personally found it too melancholic. But there were some more uplifting chord choices. I will have to check out Phillip Glass as I did enjoy this overall. Thank you for sharing!
  15. Ah magnificent! I am shocked to know thst this was your first piece. I enjoyed the contrast in this piece. The heavy dense chords in the introduction to the light dancing melody to the slowed section. It all flowed very well. Thank you for sharing 🙂
  16. Hello, This piece was structured very well. I enjoyed the flowing B section very much but as mentioned above some of the chord transitions sounded awkward. Overall well done!
  17. I absolutely love writing for string quartet -probably due to the fact I play viola (?) That said, there's a few things to consider: 1. Strings possess similar timbre and sound. Each string also has it's own unique qualities. On the viola, for instance, the A string (the smallest) possesses a more nasal tone quality. That doesn't mean it can't sing as well as the E string on the violin. Cello's have a very resonant sound throughout much of their range -thus, they can cut through to be fully audible through even the busiest string textures. 2. Writing for string quartet, it's important to remember that each part while -as Luis pointed out- maintaining and independent character ALSO work together in a more conversational manner. This nature of string quartet writing can be found throughout the repertoire from the earliest to the most modern. So, yes, you want each part to be independent to some degree -but you also have to unify the parts into a cohesive whole. (Not that 4 competing parts wouldn't be an interesting premise -if done in a way that presents itself cohesively). 3. Strings when playing unison provide a strong effect -and should be used when needed. To get an idea of it, listen to the opening of Beethoven's Grosses Fugue (originally part of the Opus 131 quartet). In the opening, Beethoven presents the melodic notes of the fugue in full unison. The effect is powerful. 4. Do cross voices. While, traditionally, one is taught to preserve the SATB nature of quartet writing by NOT crossing voices, within string literature, it is customary and expected for the strings to cross voices -particularly for quartets. Again, each line 'converses' with one another -adding it's own two cents within your textures. This can be achieved without crossing -but... you'd be missing out on exploiting the full range of the strings. 5. Don't neglect the inner voices. While 2nd violin and viola -especially in the early days of the form- are customarily given accompaniment material, they also add unique qualities to the quartet. Don't forget to give them decent material to play. Trust me, from a violists point of view, the instrument can do much more than provide harmonic and rhythmic accompaniment. 6. A String Quartet is not a concerto. While you may be writing a string quartet for 4 'divas', those divas do come together much more intimately. It's chamber music, after all. And this gets me to my last comment regarding the form: String Quartets often provide a fuller glimpse into both the talent and the personality of the composer -even in the modern era. From Mozart (who transcribed Constanza's labor pains into one quartet) to Shostakovich (who grappled heavily with state suppression of his modernist tendencies), the catalogue is replete with countless examples of this. String Quartets provide a composer with 4 instruments that possess similar timbre -that means you can't fake it with orchestration. Your music HAS to be on point. Your form, structure, and motivic material lay raw and bare. There has to be substance -or else the entire work will flop. I don't mean to make the form sound so lofty -but that is the reality of the beast (whether we like to admit it or not). Many composers gave the form the best compositional prowess they had to offer. It's no wonder that a lot of modernists, especially in the early days, composed very few string quartet works for this very reason. It's a difficult ensemble to compose for. You can't just hide behind instrumentational coloring. You actually have to compose. *gasp*
  18. It sounds great! my only suggestion is that it seems a little underwritten for percussion (I’m probably biased as a percussionist) Maybe adding bass drum to the percussion instrumentation would help this. It seems like a lot of the impact moments would benefit from this.
  19. Hey there, had a quick notational question: I noticed that some composer put beams over rests, like the image I attached. Is this a useful/preferred technique, or is it completely personal preference to the composer? Thanks a lot!
  20. I the most important issue when writing for "classical" (not contemporary) string quartett is to write each line separatedly. Each voice must stand on its own. forget the chordal treatment. In some spots, you can write a solo and the remaining instruments play in background, but that's not the idea of small ensembles like this. In other workds, the wiring must be based on counterpoint. In that sense, some techniques that work with the orchestra, won't work in the quartett. Also, we must take care of writing in pairs (a duet.. and the other two, what?). Steer clear of unison passages, particularly for the two violins.
  21. Don't worry about it. It is a very good sonata. The thing about writing in the baroque style, however, is that the flute has changed so much since then. In the Baroque era, each note on the flute had different tonal characteristics. Some were hollow, some were dark and full. Also,.Baroque flautists used syllables such as "di" "ri" as well as the common "ti". When the modern flute was invented, the emphasis was on consistency across the range, and making sure the articulation was clear. Just something for you to think about, whether you want to write for the old or new instruments, which could affect the style that you use.
  22. Alright, sorry for that, I'm always thankful for valid criticism.
  23. As a flute player, I can clarify there are enough places to breathe. I'm not entirely sure it works like that. I have accompanied saxophonists, yet I would never dream of knowing "precisely how it worked." Nb: You have said that you are new to this forum. Be prepared to receive reviews that don't say what you expected or wanted. Your comment came across as a bit defensive.
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