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Showing content with the highest reputation on 02/26/2018 in all areas

  1. 1 point
    Hey, I don't know you, but I, I really don't like the Bel-Canto in singers, I mean I can stand like 3 or 4 famous singers for a couple of minutes, but not the 99% of the rest of people sing like that, now, why is it that ALL Opera or Concert music has been always hopelessly tied to this technique, and remains tied in present ? So if I write an opera, or any sort of musical form is to be preformed in a concert, or just considered as part of non-comercial music, will be forced to sing like that ? There's no way to avoid that ? I understand the history of all this, but now we do have technology to use microphones or any other sort of help, I mean it's just matter of get opened to other possibilities, but nobody seems to even try, do we have to start writing vocal music asking (somehow) for an specific technique is not the Bel-Canto ? There's any hope we can turn off that vibrato please ?
  2. 1 point
    I haven’t posted anything here for a while, and I was hesitant to post this because it is missing the most important part, the lead vocal. So it remains a prototype for now. In any case I have included the melody and lyrics. Instead of a tenor, I gave the melody, for the purpose of a demo, to various tenor instruments, namely cello or horn or even piano. This has necessarily colored and altered the orchestral balance, but is a necessary trade off. It is my first dramatic work, and the most ambitious considering its length, which presented some unique challenges to me both in the arc of the songs and how they fit as a whole, but also many joys of discovery. The songs are sung from the point of view of a ghost who also tells the story. Since there is no acting or recitatives to inform the audience, there are only the songs, the mood and the lyrics. It is a rich art form that I would love to do more of! and I welcome your comments. Thanks! Prologue: (Dirge) “I’m No Longer Here” Bar 87 - @ 4:45 “Gone iI a Terrible Thing” Bar 154 - @7:20 “Make It Happen” Bar 302 - @11:25 “Run Run Run” Bar 424 - @15.00 Epilogue
  3. 1 point
    I've always wanted to try writing a piece for organ. Though he didn't write much for organ, I am a big fan of Mozart's organ music and in particular his Fantasy in F minor which inspired this work in terms of structure and the fugal subject which is similar, though otherwise I treated the sections very differently. It is generally organized as a chaconne-like theme and variations in pairs separated by two extended sections (a fugato and a more lyrical section). I had posted an unfinished version of this in the incomplete section and I greatly appreciated the feedback. I also plan to transcribe a version for string orchestra.
  4. 1 point
    The piece works very well: The monumental introduction, the fugato and the lyrical part offer a nice contrast. However, I would have expected a more Allegro-type fugato after the introduction. Overall, the fantasia reminds me of a concerto movement in a loose ritornello form, with the slow parts as the ritornello and the fugato and lyrical part as episodes. If you ever come around to adapt this fantasia to an orchestra, it would lent itself quite nicely to a concerto.
  5. 1 point
    It's feverish in its intensity, which is always a good thing, part of your style I think, what I've heard so far. Have you ever posted an adagio here? Ha ha!
  6. 1 point
    I didn't know this composers, but I love this concert...
  7. 1 point
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