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  2. So that is said, i love Bach, but i really dont agree that bach is the beginning of classical music. I would rather say that bach is the culmination of 200 years of musical evolution. What Bach did could not have been done if it was not for hes idols, espeically the north german composers like Buxtehude, reincken and B枚hm, or the french composers like Copuerin and lully, or the italian composers like Corelli, Torelli and Vivaldi and at lest the flemish like Sweelinck even some of hes comtemporarys. Bachs music uses the elemtns af all these styles (like the other late baroque composers within the north german tradition ... Zelenka!). Bach as a historical composer is very interesting, you find all the influences inn he music both early and late works. Bach is 33% italian, 33% french and 33% noth german in musical langauge, but mostly german and french is style and technique. I dont think any composer can match hes technique, but he is not the best lyrical and creative composer in the baroque era.
  3. Thank you very much for your kind comment. Still 300 years away from the master himself, but I hope I can deliver quality music in the a exciting musical langauge 馃檪
  4. Vivaldi reborn! Very nice job. Sounded like one of his concerti from La Cetra.
  5. Today
  6. Concerto per violino, archi e bass continuo in b minor "Paradiso e inferno". written 20.06.19 - 25.06.19. Been some time since i wrote a concerto, so here is my summer contribution. Three part concerto written in the late italian school. I. Allegro - paradiso: 4/4 time, livly tempo and fugures, high in the register of the violin (Heaven it is!), the triumph key of d major. II. Adagio - cadere dalla grazia (fall from grace) 4/4 time. slow pace, rethorical use of rets, b, minor III. Vivace - inferno, 4/4 time, fast pace, slaming fugres, chromatic downward passages (going down to hell), b minor Please tell me what you think SimenN
  7. mark styles, thanks for the advice. With the exception of social media (Facebook, Twitter, etc.), I've done those things you've mentioned but to me I might as well be reading Greek. I've tried getting into Facebook a few times and it's just not my bag. I can't even sign up for Twitter because they want to verify me by sending me a text message... I don't have a mobile phone, only a landline hence no text messaging. It's a Catch 22. I've even emailed Twitter's customer support a couple of times about this and they never responded back. Not your concern, I know, but I'm just sayin'. I do love YouTube however, so maybe I'll try looking up some mastering tutorials. I think I've tried that in the past with little success but it's been a while. If you've ever seen "Monty Python and the Holy Grail" I'm that guy that just wants to sing (compose in my case). I've got Beatles in my blood so I can't complain.. even though I just did... but I sure wish I had my very own George Martin.
  8. SilverWolf

    cake WRLD

    Definitely sounds electronic, but too much bass.
  9. The French Horns are too prominent over the harp, other than that I love this loop.
  10. The moonshine song sounds ok, minus the voice that trying to seduce people.
  11. This sounds very ambient and soothing.
  12. More so like a few random pauses in the right hand staccato section. The left hand sounds on point with the octaves timing, but a bit of syncopation in the right hand would add to that, making the staccato articulation that much more dynamic.
  13. Hello, My brand new album is available on Bandcamp, and Soundcloud. ***Bandcamp*** https://darkenergyart.bandcamp.com/releases
  14. So you're suggesting that instead of always having the right hand play staccato while the left hand plays octaves underneath, that maybe, in those sections where I play the staccato melody twice before I reach a scalar passage, first it should be played the way I have it written with the right hand playing staccato and the left hand playing octaves, then at the repeat, the hands should switch roles so that now the staccato melody is in the left hand and the octaves are in the right hand?
  15. The French Horns sustain notes are going on forever. It seems too unrealistic to play.
  16. Yeah I think you're spot on with that one because the clarinets and oboes have a very different kind of sound to them more expressive rather than like leads/melodies.
  17. It sounds fast and very pulsating, what I would add to is a bit of variation in the rhythm, alternating between which hand has random stops. Almost like a panning effect, Overall I like the sound.
  18. I feel a happy emotion to this, even when the minor keys are exposed. But not just any happiness. It feels kind of like a person is skipping around. I love it. And the C major is so expressive here. I have tried to get my C major to sound expressive and all I get is what sounds like happy boredom, sort of like this piece here: If I want the piece to both be expressive and have C as the tonic note, I usually resort to 1 thing, using the key of C minor. I find that with C minor, I can get just about any possible emotion across relatively easily like this: Anger - Just use more forte dynamics and diminished 7ths, faster tempo further reinforces the emotion but isn't necessary Sadness - Keep it slow Mysteriousness - Slow and in low octaves Nocturnal peacefulness - Slow and in high octaves Happiness - Fast tempo and off beat notes(I find that, if I just displace a note by say an eighth from where I would typically put it, and I put more dynamic emphasis on weak beats, I can get C minor to sound happy)
  19. I liked it a lot! The rises and falls, the dissonance and resolution鈥攊t all made sense! Superb job bringing all of that together into a cohesive, epic tone poem!
  20. I just plug mine into the mix output in Logic. You could just as easily use your method, (into a sound editor app). If you're putting each instrument in your DAW on it's own separate track, - kick, snare, hats, toms, etc. you might want to send those to a bus, and apply a limiter to drums alone. Some mixers, group instruments and send to separate busses, (stems). then each buss, can get a separate limiter, compressor, EQ etc. It depends on your songs, how complex are they, how many plug-ins you have, and how intricate you want to get. Read magazines, like Electronic Musician, Mix Magazine, Keyboard etc. (there are a bunch). Keep reading them, at first it may seem confusing, but gradually you glean a tidbit of info here or there. Better yet, check out Youtube videos.. There are quite a few on different music subjects. You soon learn which ones are put out by intelligent guys/girls. and which are not so informative.. The internet and Google (or your search engine of choice) is one of the most amazing learning tools ever available. (of course a lot if mis-information is there too).. There are also Facebook forums on almost any subject, theory, synths, music. A lot there to go over too.
  21. I don't think I have heard such a key like A major be so sad. Usually when I think of an emotion that is typical for A major I think of this: That's right, I think of the key of A major as having a bouncy feel to it, which staccato just reinforces. A good example of this is Rondo Alla Turka by Mozart. But your piece has a grim sadness more typical of a minor key like E minor, despite it being in a major key. I myself have never gotten a major key to feel sad. I have gotten it to feel nocturnal, but not sad. If I were to think of a piece that has the sadness that your piece has, I would think of this one: How did you get a major key to sound so sad? I have only been able to do that with minor keys by keeping things slow. If I keep things slow in a major key, it starts to sound nocturnal to my ears. But sadness, not really if I just slow the tempo of the major key piece. So clearly, there is more to it than just tempo for major keys to sound sad unlike how with minor keys you can just slow things down to get a sad feeling.
  22. Because Bach is everything! 馃ぃEither he was lucky all the time or knew what he was doing, in any case the man crafted music that perfectly echoes the human soul. Some composers capture that experience in one or two compositions, some in many, but none did so in every composition like Bach did. Even his little preludes for keyboard resonate with the soul, or at least my soul. I don't think enjoy Bach to the extent that you do, Maarten, but he's definitely my favorite: to play or to listen to.
  23. I absolutely adhere to the "write what you want to hear" mantra. In my opinion, the beauty of musical composition is its diversity; each of us borrows and blends from the genres we like best to produce stunningly different鈥攂ut uniquely beautiful鈥攅xpressions of our own soul and experiences! I suppose my own style is a gross mixture of Bach and Sibelius, with a sprinkling of Debussy, since these are the composers I've listened to most over the years. I'm not sure what musical epoch my style fits into, though... maybe romantic impressionism?
  24. Hello again, Caters! Your pieces always seem so well-planned, and this one is no exception. As an avid ornithologist when I was a kid, I appreciate incorporating the authentic birdcalls into this! I can tell you're developing your own style and you appear to be pretty familiar with music theory. Kudos to you for putting in that kind of work! Here are some things that have helped me as a composer. First, I have to remember that music is primarily an art, not a science (although it is definitely both). When I focus too heavily on the form and not the art of music, I tend to create pieces that my head likes but my heart doesn't. Ideally, both head and heart should be happy with the music I write. But striking that balance is very tricky, and only the greatest composers do that bit well! When I use music to paint how something makes me feel (spring, for instance), I'm generally much happier with the result because my head, with all its music theory, can very easily whip the melodies into shape. In other words, I lead with my heart and correct with my head. Also, I've found that it helps to envision people actually playing my music as I write it. There's almost always a way to construct a melody so that it's enjoyable for the instrumentalist to play. I try to minimize bland repitition, and treat each line of music as if I were the one playing it. All in all, my head really liked your Spring Trio but my heart wanted more emotion out of it. You have a lot of good ideas, though, and I'm confident you'll only get better over time!
  25. I think sounds convincing 馃榾. I like particularly the "kyrie" parts where you introduce a G major chord and then repeat the sequence F major.
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