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Hi! @arpeggia. I really enjoyed this piece too! the chromaticism, dissonance, the use of accents which makes it sound as if the strong and weak beats subverts what is typical of a waltz, yet still stay consistent enough to be easily recognizable as a waltz, which makes it a very interesting and engaging! A lot of drama within a short span of around one and a half minutes. Well Done! I agree with @PeterthePapercomPoser that would be a good extension if you want, a middle, contrasting part to what already is there. Thks for sharing!

Hello @arpeggia! I really like this piece! To me, I don't see a problem with the title as I think it really fits the pathos of the piece - I would also describe it as perhaps "demented". I think for a piece with only one main section it still manages to stay interesting and create contrast with changes in dynamics and how you subdivide the beat. If you ever think of extending the piece I think it could work as an ABA form with the B section as maybe a slower and more eerie waltz in another key. I can definitely imagine that. Thanks for sharing this really enjoyable demented dance!

Hi, it was a bit of a challenge to categorize your style/work: impressionist - minimalist; however, I agree with the above insight as pointillist. I wonder what was your idea/purpose in integrating the choral work? By the way the orchestra has a wonderful texture/color. Mark

Thank you very much. After reading yours and @MJFOBOE comment, I am going to study/listen to some music that is overtly pointillistic music so that I can immerse myself in that style more purposefully. Yes, the gospel choir joins right at the end. It was not planned beforehand. The idea just came to me at that moment. I could hear Amazing Grace in my head - and I did not not want to ignore what I could hear just because it wouldn't make immediate logical sense. If it came into my mind whilst composing, then I trust that it makes sense, somehow. Indeed, that they connect by being in the same key is merely a coincidence. If the two sections were in different keys, I would still be ok with it. "mostly quite enjoyable" makes me smile. (hopefully there is an added emphasis on the 'mostly!').

MP3 Play / pause Butterfly Net - Caroline Polachek 1:11 4:46 volume > next menu Butterfly Net - Caroline Polachek > next PDF Butterfly Net - Caroline Polachek That's a very lovely work.

Hey guys, a couple weeks ago I posted a study called "luscious" for string orchestra. Today I have it here as an expanded piece. The beginning is nearly the same, expect with an accelerando in the A'' section, so that when the A'' section appears at the end, it has more impact. There are many pieces of advice taken from others, importantly modulation. frankly, these are not fabulous examples of the modulation you have been asking for, as they don't don't happen on the climaxes of melodies, which does not come to me naturally. I'm working on another exercise which will hopefully do that in a convincing manner, however this was more of a brain itch than an effort to improve.

Thank you for giving it a listen and describing what you liked about it. It seems like you understood and appreciated my piece the most at the parts I also cared the most about. Thank you for listening! I appreciate your feedback from before, helping me get this piece right.

Hello @Aw Ke Shen! This piece held my interest much more consistently and really took the idea of repetition with variation to heart. I'm glad you're taking this avenue in your development and I'm enjoying it very much! I think there is still a spot where you sequence a certain figuration by walking up the scale step by step - for me that was still a bit predictable. But there are styles of music where more repetition or sequencing is expected such as minimalism. And there's ways of making that work if you want to explore that. Btw - I loved the canonic imitation between the right and left hands - a great example of repetition that enriches the listening experience because of a shift in the metric placement of the material. Thanks for sharing!

I wrote this back in June 2012 while playing around with dissonant and chromatic tones. This was one of the few pieces that had a dedicated title (I called it "horrible" at the time and just stuck with it). I largely forgot about this until early this year, when I revisited my list of unfinished compositions and discovered that I had already finished this one. I went ahead and revised it (the original was completely unplayable and I had to tone it down, with some refinements of course), and decided to share it with you guys. I hope you enjoy it!

I agree on both counts. It does seem like 6/8 is a better fit. And, overall, it does seem to me that there are a lot of things that don't seem to come up again. That doesn't go very much with the style of the work. One thing I think you have to watch out for is the textural changes. Suddenly there are two-voice chords, suddenly there are 4 or 5.... You can do all that but I think it requires some kind of preparation.

Here's another scherzo for y'all's - Brahms Scherzo in Eb minor Op. 4:

Firstly, the audio rendering is superb and the orchestration engaging. You created a wonderful musical space to sit in and be. As for the which composers influence you ... I personally hear the late romantics as they move into the 20th century. Yes, a bit of Mahler towards the climax of the work as well as others in that specific time reference. Mark

Totally! You may use my piece in any way to help create an educational video.

I've been reading Kent Kennan's Counterpoint book. But besides that I decided to re-read "The Music Lesson - A Spritual Search for Growth through Music" by Victor L. Wooten. Victor Wooten is hailed as "the Carlos Castaneda of music." Here are a few fragments from the beginning of the book: If you've gotten this far, thanks for reading!

We seriously can learn a lot about how dynamics can create something so expressive after listening to this. I really like how a solo cello sounds, and this is a good example of how instrumentation can be used to create a specific mood. In this case, a mood of restlessness or unease. I'm not sure how you managed to get this clarinet to sound so expressive, but it must have taken a bit of tweaking. I love your motive, using the triplets to create a fun and playful rhythm (but in a dark sense)

Thank you for again replying to my piece. I appreciate the feedback, I will try to do the emotions you recommended. I will try to modulate a bit this time. Sadness seems like a good place to do so.

Thanks for your feedback. I think i'll rewrite it or reuse those ideas in something better thought (mainly because of the awkward unplayable parts).

Hi @Cafebabe! I think the piece seems to be in 6/8 rather than 3/4 since the strong beats in each measure are the 1st and 4th eighth notes - there's clearly 2 main beats in the measure rather than 3. There are some measures that are in 3/4 but imo they happen in the predominant context of 6/8 as a kind of hemiola. The introductory motif in the right hand will be very difficult to play at the speed you have here since there are many consecutive same notes to play in a row which is very unidiomatic writing for the piano. It works in a midi rendition but your performer will either be unable to play it that fast and will have to slow it down or will just kill their wrist trying to play it up to speed. Also - you present a LOT of ideas in a short time, which is why I guess you called this a "Fantasia". You could stretch this material out into a longer piece and flesh out the material more and give your ideas time to speak. The main thing I wish you had more of is unity between your ideas - they should all be related somehow but you overload the listener with lots of variety. The balance between unity and variety is a difficult one that composers have to contend with. I also prefer this score view to the other piece you recently posted which had inverted colors. This is much easier to see and read. Thanks for sharing!

I have no fault with the music, but the white on black YouTube score is pretty hard to read. It might be worth adding a more standard pdf of the music here so people can give you more specific feedback. 🙂. Nice job!

Hi @Symphonic! Very cool - pointillistic sometimes. There is definitely a recurring theme to this although it was quite unusual and disjointed. Or at least very fragmented/dissolute. I like also all the polyrhythms going at different rates. I was going to say - "but where's the gospel choir?" LoL But is this your own arrangement of Amazing Grace or a performance of someone else's arrangement? Either way the performance is quite good! You also don't really explain how the Palette piece is supposed to be connected/related to the Amazing Grace song. At the point at which they connect they're in the same key - at least that much is audible though. Overall this was mostly quite enjoyable! There were a few spots where I felt like you kept me as the listener waiting for something though. But other than that it was great! Thanks for sharing.

liked it very much. the only thing I hate is the mechanical computer-generated playback

I have a silly suggestion, but I guess this may work. You can download the song as an mp3 file using Youtube premium maybe.

Hey there First off, what a cool song 😄 I've never heard it before, but there was a lot of neat percussion stuff going on, like banging on things in the kitchen. She's got a great voice too. Nice mode mixture stuff, EDM effects in the bass, it's all great. Ever get the melody to work for the mp3? I use Sibelius unfortunately. What if you just copied the notes into a new file or something? I'm sure it's just a weird bug. What you have seems promising though. Looks like you emulated the guitar rhythm nicely with the string accompaniment. All the transcribing you did looks spot on