Leaderboard

Here my new piece for Flute, Harp and Strings. In the repetitions of the main theme I did some orchestration variations: Exposition Melody: Flute Countermelody: Violin II Quavers accompaniment: Harp Repetition Melody: Cellos (1 octave down) Contermelody: Flute Semiquaver triplet accompaniment: Violin II Reexposition after de contrasting section Melody: Violin I Countermelody: Violin II Semiquaver triplet accompaniment: Harp Also in the repetition of the closing theme I did some similar arrangement variations. I particularly like how expressive cellos sound in the high register when playing the melody. The idea of the semiquaver triplet accompaniment come from Wagner,s Tannhäuser Overture (Violins play semiquaver triplets as accopaniment texture, while brass plays the melody). Any comments are wellcome.

This is a reconstruction of the first movement of Mozart’s Symphony 42. The manuscript was discovered under the sound board of an old harpsicord sent in for restoration. As is well known, Mozart was always hiding his manuscripts as he knew Salieri was always sniffing around nicking his tunes but this manuscript was thought lost. The manuscript appears to be a rough draft. There are inconsistencies in the musical style. A diary note left by Mozart tells us why. Approximately translated from German it reads: “After a harrowing half hour with my teetotal publisher I had lunch with Donizetti in Sleazy Ed’s Timetravel café next to Die Letzte Möglichkeit (Last Option) Bordello down Vienna High Street. He wants to borrow my coloratura and mistress for his new opera, the Magic Fruit. I held out until he offered me 100 bottles of Schnapps. But for the Apfelstrudel being too salty it was a pleasant lunch. We exchanged many ideas. I like his style so I may entertain some of his ideas in this new symphony. He’ll think I lifted them from his Lucia, a nice piece. A shame that we’re too early for films. He’d be rich. We both would. He also smells better than Brahms who has birds nesting in that horrid beard. Brahms is always complaining about how that ivory-tickler B. Toven left him redundant. Gaetano and I laughed over Brahms challenging me to billiards. The man really doesn’t know what to do with his balls. Gaetano has promised to send the recipe for Neapolitan Sixths which I can’t wait to add into the symphony.” ©Dr P Yano So here is the reconstruction. Performed by the Sinfonia Cacophonica of Burana.

Hi guys and gals, I wrote this piece and have been trying to get some feedback. What would you identify as the weaker areas of the composition/production?

What exactly does "important" mean? Some local teachers or composers or something? If all these guys do is dump on your music it sounds like you need to hang out with different people. You sound like a pretty young guy so here's some advice from a guy whose (a few) years older than you: if you spend time around people who ultimately just drag you down, you need to cut those people out of your life. You shouldn't waste any time trying to impress people who would rather tear you down than build you up. It may be hard, because you may think these people are your friends, but I promise there are better people out there. I wish I had learned that a lot sooner than I did. FWIW here's my reaction to Ivan's music: And here's my reaction to that "Plastic Trio": Sounds like you've had it pretty rough lately. Take some time for yourself, you'll be back stronger than ever before you know it.

So...here's the thing. I got to a point in my musical education to where I was studying the likes of "Plastic Trio". The musical language became so far detached to what I PERSONALLY was looking for in music, that I felt like I had wasted my time learning so much from the evolution of music in the high art realms . Don't worry, you can take from that piece you posted as a virtuous plethora of techniques to learn from, but ultimately who can you communicate that particular musical language with? I get the bountiful showmanship of compositional technique, but to me the "effect" that language conveys is nothing more than a prolonged attempt at novelty. I know plenty would disagree in the conservatory, but I've learned a hell of a lot more from blues, jazz, electronic, rock, pop, gospel, and whatever else is beyond the walls of the academic sectors then schoenberg and john cage taught me. Their stuff is worth studying, don't get me wrong, but take what you want from it. All I'm saying is don't let a very small percentage of educated music teachers sway your will to give this world what you have burning inside to share. Frank Zappa got the same amount of pleasure from his twirky pop music that he did from hiring the London Symphony Orchestra to pollute the world with a cacophonous barrage of "sounds" (jk I love it 😄).

Hold up. Don't mistake the criticisms here for bashing your voice as a composer. If people hear a similarity between something else and your music, meh who cares. I definitely heard some unique sections, especially with transitions and the development section. Yeah, maybe I hear a lot of Mozart and Beethoven influences, but what better way to learn then to emulate other musicians. Hell, you even picked two of the greatest composers who ever lived to model your symphony from. Just because this particular piece rendered a lack of "OMG bro so sick yer a genius!!1!1" replies doesn't mean it's a failure. It would be a failure if you wrote this, were too afraid to post it, and received no constructive feedback from listeners who took the time to let you know a piece of their mind, no matter how detailed or blunt. I hate to see that you posted in the shoutbox that your teachers told you your music was "bad". You're a student of music, it's evident from your wonderful display of marksmanship regarding clean score writing as well as your talent for KNOWING compositional techniques to develop your ideas (which anyone can create) rather than spew a bunch of looped chord progressions littered with obvious crtl+c markings throughout your peace. I've been teaching music lessons for a bit now, and anyone who has shown what you have with this glimpse of who you are as a composer would receive nothing but CONSTRUCTIVE criticism from me, no matter what I think of the unique/pastiche relationship of the music. That said, Beethoven will I think always be my favorite composer of all time. I have so much respect for him as I piece together all the little intricacies in his piano sonatas as I begrudgingly plow my way through them as if I were a child fisting the keyboard. I'll never have the stamina and pure intellect he had as a machine of a composer and pianist. But even though I admire him so much, I encourage you to make your brain a sponge and soak in everything that happened after Bach, Beethoven, and Mozart. I could go on and on about composers I never listen to but took something from the times when I gave their music an open-minded chance. I won't bore you with that, but I bring that up because I took SO MUCH from Beethoven and Mozart (not so much Bach 😄), that I could use those ideas and phrases and foundations and general discipline in composing in the modern world I'm a part of. What can you do with what you learned from them and apply it to this day, August 1st, 2020? Once you address this, you'll find the comments of "sounds like Mozart" will fade away and people will wonder what you're doing...then you can tell them about Mozart! P.S. please let me know about your endeavors with creating a graphic score. I'm working on something and about to finish, I would LOVE to hear how it's done! All in all, sorry for the ramble. I think this piece is well deserved of a bit more attention, as anything for orchestra requires a ton of meticulous work. This is a fine display of your talents as a composer, I'm very eager to hear what you have for us next. It sounds like you've been going through a lot, I only hope your distress manifests into your greatest work yet.

deleted

Well - there are a few places where I do double the melody an octave above the violin, like m. 13 - 17 with ornamentation. While in m. 28 - 37 the violin and viola are already engaged in canonic imitation so I would hate to break that up lol. I think I see what you're saying - maybe I could have a canonic imitation between the violin and the piano in m. 20 - 27 too? LoL! That will be the day!

It's an excellent little piece, you have fantastic phrasing and expression, Parts of the main theme felt a little too repetitive at times particularly when it comes back, perhaps you could add some rhythmic interest with some triplets somewhere. Measure 18: That trill does sound very convincing to me, perhaps use a descending sequence to land back on the tonic. The middle section in 2/4 sounds a bit jarring initially, It's a good theme but it comes in too suddenly, perhaps reworking the bar before would apply some more beneficial transitions. Over all it's very good. It individual and has a distinct style. I look forward to seeing more of you work 🙂

Of course!

Hey could you provide a score as to give more detailed analysis??