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Showing content with the highest reputation since 03/01/2018 in all areas

  1. 2 points
    Hi everyone, I've been composing music for 3,5 years, but it was not until recently I decided to start uploading my music to the internet. I've never received any musical education, I had to educate myself. The first piece I decided to upload is the "Sonata for Viola and Orchestra". Please note, that even though it says sonata in the title, I wasn't sticking to any particular composition form. I would appreciate any feedback you can give me on both my orchestration and composition and your thoughts in general. For the story behind the piece, you can check the description of the video attached here. My idea behind this composition was as follows: The motif that represents life gets introduced in the first part of the composition in a major key (0:00-0:56). Then the piece switches to a minor key and a "loss" motif start playing by a solo viola, representing the losses during the war. After the second repetition of the motif (1:00-2:24), the life motif comes back now in a minor key representing that life has changed for the worse (2:24-3:15). The loss motif is then repeated again and the piece concludes on an unstable minor add9 chord to show the uncertainty of the situation (3:15-4:30). The piece: https://www.youtube.com/watch?v=S4jGyzvWlmY&lc=z221wrhqgxznjvopt04t1aokgbir4xpajzdb5agsljhlrk0h00410 The score is attached here Edit: Uploaded the piece here as well. For the history behind it, you should still check the link Edit 2: Replaced the previous pdf file with the new one, since I found some mistakes (had incorrect crescendo markings around bars 10-11)
  2. 2 points
    Movements: 1. Kyrie 2. Gloria 3. Sanctus 4. Benedictus 5. Agnus Dei Scoring: Mixed chorus a cappella (SATB) Style: Baroque stile antico, circa 1700 Composed: June 23 – July 9, 2014 at Wichita, Kansas, USA I here present my second attempt at a Missa Brevis. This one is a cappella, and in the Dorian mode throughout. The first was composed in 2000, modeled after the short Masses Mozart wrote for Salzburg Cathedral in his youth; I posted it here some years ago. This work was commissioned in 2014 by a Roman Catholic church in Colorado that supports and highly values the best in traditional church music for their liturgies. A long-time friend and colleague happened to be the director of their small but well-trained choir, and he regularly programs 16th Century polyphony for them to perform during Masses. When he proposed the commission to me, he specified that I would compose a short but solemn Mass, as well as a set of Propers (the variable parts of the Mass, including the Introit, Gradual, Alleluia, Offertory, and Communion) specifically for the feast day of the church’s patroness, Our Lady of Mount Carmel; he further stipulated that ideally the work would emulate Tomás Luis de Victoria (1548-1611) – his favourite composer – in style and substance. Flattered that he thought highly enough of me to think that I was capable of this, my response was that the style would be a tall order – Victoria was one of the giants of Renaissance liturgical music, and not easily imitated – but that I would gladly do my best to present him with the best polyphony I could manage. My friend was satisfied with that, so we negotiated what I thought was a fairly generous stipend, and I accepted the commission. Though it was not due to be fulfilled until the following spring, I immediately set to work (I’ve rarely been one to procrastinate on a commission), though not without some trepidation; I am relatively facile in several historical styles, but I had never attempted to write 16th Century polyphony before, and I wasn’t altogether sure I would succeed. I worked diligently and completed the entire Mass in 15 days. While the final product did not disappoint me, despite having employed all my knowledge and skill, I knew I had not produced an authentic piece of 16th Century at all. Rather, I had written a solid work in stile antico. For those unfamiliar with the term, to quote Wikipedia: “Stile antico (literally "ancient style") is a term describing a manner of musical composition from the sixteenth century onwards that was historically conscious, as opposed to stile moderno, which adhered to more modern trends. It has been associated with composers of the high Baroque and early Classical periods of music, in which composers used controlled dissonance and modal effects and avoided overtly instrumental textures and lavish ornamentation, to imitate the compositional style of the late Renaissance. Stile antico was deemed appropriate in the conservative confines of church music, or as a compositional exercise as in J. J. Fux's Gradus Ad Parnassum (1725), the classic textbook on strict counterpoint. Much of the music associated with this style looks to the music of Palestrina as a model.” I had done my best, so I presented the Mass to my patron, and to my relief, he was very pleased. The work was premiered by my friend’s choir at a festal Mass on July 19, 2015, the Sunday following the Feast of Our Lady of Mount Carmel (July 16) when the patronal feast was observed, on which occasion the present recording was made. The following year, I was invited to come to Colorado to join the choir in performing the Mass again, and I accepted. The appreciation of the choir and congregation for my work was most affecting – a memorable experience indeed. I hope you enjoy this little Mass, and do let me know what you think of it. I’d especially like feedback on the counterpoint from any of you out there who may be experts in the art. Thanks for your time!
  3. 2 points
    Sinfonia Concertante in C for Oboe, Bassoon, Fortepiano, Violin, Violoncello, and Orchestra. One movement in three parts: Allegro spiritoso – Andantino grazioso – Tempo primo Scoring: Flute, Principal Oboe, Oboe II, Principal Bassoon, Bassoon II, 2 Horns in C, 2 Trumpets in C, Timpani, Fortepiano, Principal Violin, Principal Violoncello, Strings Composed: January 10 - March 10, 2017 Commissioned by Billy Traylor, Director, Austin Baroque Orchestra. The Sinfonia Concertante is a form that had its heyday of popularity in the second half of the 18th Century. It is essentially a concerto for two or more solo instruments (five in this case) with orchestral accompaniment. It is considered to have emerged from the concerto grosso of the Baroque period, and is a cross-over form incorporating elements of the concerto and the symphony. Ordinarily, as with the concerto and symphony of the same period, it is in multiple movements, usually three or more. However, the present work was conceived as a single-movement work in three contiguous parts, contrasting in key and tempo (similar to an early opera overture) at the request of the commissioner, who also requested that the entire piece be less than 10 minutes long. As is often the case, all the principal players play ripieno with the orchestra when not performing a solo part, and likewise the fortepiano plays figured continuo when not soloing. The instrumentation is nearly identical to that of the Sinfonia Concertante in B-flat (1792) by Joseph Haydn (1732-1809), the addition of the concertatofortepiano being the only difference - again at the request of the commissioner - and I studied that work extensively before and during the writing of this piece. Perhaps the most famous example of this form is the Sinfonia Concertante in E-flat for Violin, Viola, and Orchestra (1779) by W.A. Mozart (1756-1791). There is a lot going on in this piece. Not only is the form condensed, but much of the time the texture is such that there is a very active quintet layered on top of an orchestra, as if it were a chamber work and an orchestral work all at once. I found the feedback I got from the soloists during rehearsals very interesting indeed. The oboist complained that I called for E and E-flat above high-C from him, which for a skillful player should be doable even on a period Classical oboe; and in fact he cracked both of them in performance. The bassoonist was thrilled with her part, saying that what I had written was not only reasonably playable, but very idiomatic for the instrument and a lot of fun to play. The fortepianist (who played my own Peter Fisk fortepiano for the performance) had nothing to say at all, but I got a sense that perhaps his part wasn’t demanding enough, because he was often tempted to rush the tempo. The violinist and ‘cellist both got after me for taking them too high without adequate preparation, which I found very strange; being a string player myself, I know for certain that any player worth his salt should be able to jump to a high position and begin playing without having to be led up there through a series of position shifts, even in 18th Century music. At any rate, I was not persuaded by anything I heard from the players to make even the slightest change to the music, and with a knowing smile I nodded and expressed condolences where necessary, but did nothing to assuage their discomfort where there was any. It is a concerted work after all, and meant to be challenging – and if Mozart had written it, there wouldn’t have been a peep out of anyone. This work was premiered on May 26, 2018 by the Austin Baroque Orchestra – on period instruments! It was my first performance of one of my pieces to have been performed by such an ensemble, and it was most gratifying. I have been trying to get a live recording of the piece ever since, but the Director is hesitant to give it to me because there were a few mistakes made here and there. It was an excellent performance, nonetheless, but he’s a perfectionist. I’ll keep after him! In the meantime, I hope the present electronic rendering will serve. Enjoy, and by all means let me know what you think. EDIT - I managed to obtain an amateur recording of the Austin Baroque Orchestra performing this piece, so I am replacing the electronic rendering I had attached here with it. It's not the greatest quality recording, and there are more problems with the performance than I remember there being (not the least being that in this, the second performance in San Antonio, the timpani were missing), but it has electronic rendering beat, and it gives a good idea of how the piece should sound with live instruments - and instruments of the period to boot. There is a bit of silence and tuning at the beginning - just wait it out!
  4. 2 points
  5. 2 points
    You still use repeat signs, but either add text above the affected passage that says, "4X," or "repeat until directed," or something like that, or you can use a first ending bracket at the repeat sign, but instead of being marked, "1." to indicate 1st ending, it will be marked, "1., 2., 3., 4.," to indicate 4 repeats before moving on to the next section. You can also indicate different treatments for each of the repeats in text above the affected passage. For example: 1. p, 2. ff, 3. mf.... Hope that makes sense without pictures.
  6. 2 points
    The way I've usually seen it in scores and parts is a repeat sign with 3X above it for 3 repetitions, 4X for 4 repetitions, etc. I'm not familiar with Reich's scores so I can't tell you how he does it, but it wouldn't surprise me at all if it were all written out.
  7. 2 points
    Before this degenerated into rancor, there were many good points made on a subject that is difficult to unravel, especially in cyber space. But there was already agreement in some areas, the finer points a which got lost in cross talk. Thanks for your efforts!
  8. 2 points
    I'm of the controversial opinion — and I'll die on this hill — that the arts, western music included, have long since reached their highest possible standards. I will argue that paintings by the likes of Michelangelo and Da Vinci, sculptures such as David or The Rape of Persephone, western classical, baroque, romantic, folk, etc. music, and so on were and remain the best examples of their respective mediums. They exemplify the mastery over their respective crafts that one ought to aspire to. And this is obvious in the fact that these works continue to stand the test of time as being considered the all-time greats. They still have this appeal to people, hundreds of years later. Here's the thing about reaching a high standard: The only way to truly be "original" from there is to do something that defies this standard, and the inevitable result of abandoning that paradigm is a lower standard. In the contemporary sense regarding film music, John Williams, Goldsmith, Silvestri, Korngold, etc. are still seen as the gold standard. Their music for Star Wars, Back To The Future, whatever...they're the most popular orchestral pieces of the 20th and so far 21st centuries. Why? Because they are reminiscent of, and in many cases directly lift from the standards established in the romantic era and before. "Batman Begins" or the scores to most of the Marvel movies, are absolutely NOT of that standard. They work for what they are, but what they are is vapid, empty pieces of music to accompany vapid, empty films. The only piece most people can recall any melody from in the entire franchise, is the "Avenger's Theme"...composed by Alan Silvestri. These kinds of works, will — and I'll argue already have — fallen by the wayside if not be forgotten entirely in time. The MCU, much like the band KISS, will be remembered more for their record-breaking sales and furthering of unabashed consumerism of the day than any actual artistic or cultural worth. So what to do about originality? Concern yourself with living up the high standards of yore rather than being unique. The obsession with being "unique" is actually a lie anyway, one which is symptomatic of society's post-enlightenment shift away from seeking to cultivate virtue and wisdom by understanding what we ought to love. It's fine to love trailer music, but you ought to love the works of Mozart or John Williams more. Otherwise, what you wind up doing is trying to convince everyone else to conform to the idea that your music of a lower standard, is actually just as good as any of the greats because you feel there is no inherent meaning in anything other than that which we choose to impart on it. So I agree with Coleridge about the waterfall: The waterfall is, and has to be sublime — not just "pretty".
  9. 2 points
    This is an interesting scenario. I've done both things (written for specific people, and written stuff without anyone in mind,) and I think that the most important thing is that if you're writing for specific people, they should know and you should tell them what you're doing to some degree. You should be very familiar with what repertoire they can play well and what's their overall technical level. I've had mostly good experiences with this as people I've written things for trust me enough to let me do whatever I want, and it's worked out pretty well. However, you can't count on that being the case and it could as well be that they can put restrictions on what they want you to write, etc etc. If it's an outright paid commission, then sure it doesn't matter that much that you cater to their wishes since a job's a job, but in my experience I've always done things in a way where I have the freedom I need to do my thing first and foremost. However, I understand that may not be always possible or reasonable. The best way to go about it, in my opinion, is to write for no specific person and write what you actually just want to hear. Then, after you've written the piece, see if there are any comments on possible changes or interpretations that you may be willing to compromise on. I think this gives off the best impression of you as composer since you are sure of your work but at the same time you are open for suggestions, just remember that you are the boss in the end, with all the responsibility that entails.
  10. 2 points
    I love Mieczysław Karłowicz (1876 - 1909), he was a Polish composer and he died so young because of an avalanche when he was in mountains. I praise his Violin Concerto in A major and symphonic poem "Odwieczne pieśni". I am very glad you've put Vasily Kalinnikov on your list, if only he had lived longer... but what he already composed is amazing
  11. 2 points
    One of my most beloved preludes by the public:
  12. 2 points
    Well, here's an interesting discussion. Would that they were not so rare these days! To answer the original question, most (but not all) of my music falls within an immediately identifiable historical style. Within the fairly narrow confines of that style, I invariably try to do certain things differently and uniquely according to my own sensibilities, while remaining as faithful to the style as possible - creating something new with old tools, as it were. I've been told this gives much of my historicist music a flavour that is uniquely my own, and I would like to believe this is true. It is certainly something I continually strive for on some level as I compose. There would be little value to my self-expression in this manner were there nothing about it that is mine, and mine alone. That said, it is not of paramount importance to me that my personal expression is as unmistakable as that of Beethoven, for example, only that I have been at once true to the historical style in which I am writing, and to my own artistic sensibilities. Likewise, in my "modern" voice, I follow the dictates of my own sensibilities in hopes that what results is something that is my own unique expression.
  13. 2 points
    For improvisation it flows well. Nice spread in harmonic rhythm, a graceful tune and pianistically accomplished. An occasional hesitation but that's a risk with all improvisation (I suppose...until you've 'learned' the bits you like for use in subsequent performances - how it is with me anyway!). It could easily pass as a composed piece on paper. Improvisation is composing on the fly to me! Some very nice moments in it.
  14. 2 points
    Wanted to share an improv from the past year or two. Curious to know what you guys think. Technique, melody, etc. Thanks for listening!
  15. 2 points
    I agree I just wanted to add a few more suggestions of ways to develop the 'skeleton' Try adding multiple voices maybe in the left hand (think RH of moonlight sonata mvt. 1) - this maybe difficult due to the range of movement but might be worth considering Try incorporating/imitating another style - either a genre or a composer Try swapping around the hands - having the arpeggiated movement in the RH, higher up etc Try using different tempos (tempi?) and/or different dynamics - neither of these change throughout, adding a rit or accel, or a faster/slower section would provide some contrast (similar things for the dynamics) Overall, just experiment, maybe play it through on a piano a few times and see what works. If you do change it, I'd like to see the new product
  16. 2 points
    I found this very cute and clever. The odd melodies, at once Chopin then Barnum and Bailey and back again gave me more than one grin. And the sheer force of will behind those pounding chords made it somehow not banal, but humorous. Which is very difficult to pull off. But you did it without losing the essential substance of the music. Bravo!
  17. 2 points
    I think one of the best things that helps to write music is listening to music and watching the score at the same time (in youtube you can find almost anythinthing). That's the way you learn how to write what you hear.
  18. 2 points
    Here is my latest orchestral tune. I was aiming for a sound in between realistic "live" orchestra and cinematic "epic" sound with big drums. I'd love to get some critical reviews of this.
  19. 1 point
    Hello everyone! Here's my new chamber music work, "Adventure Ouverture" for piano quintet. It's a small homage to adventure film music and film composers (Korngold, Williams, rota). Hope you like it!
  20. 1 point
    Here goes my new piece (inspired on Barroque Music) Instruments: Oboe Solo, Violin Solo, String Orchestra and Harpsichord if you liked, you can also hear:
  21. 1 point
    There is no better teaching tool than composing. Go ahead and write something and you'll find that you start to have specific questions that you can research and then apply what you've learned. If you wait to get started until you know everything you need to know, you'll never start, because there is always more to learn. You'll write good orchestral pieces after you've written a lot of bad ones first as practice, not after you've read all the books. Just start. And share, so you can get useful feedback. But get rid of any expectations of it being good. That's a great way to make yourself too fearful to write or to share. Just write, and keep writing.
  22. 1 point
    I came to this site from tantalizing little bits of information about J. Lee Graham and the first post I find knocks my socks off. Sir, this demands to be played live and with a audience in attendance. Well done sir. Weill done!
  23. 1 point
    Yes, I think it worked pretty good as a single-movement work. I agree, even Beethoven quoted Mozart in a number of his works. I personally believe that Mozart quoted other composers too, perhaps unconsciously. For example, there is a harmonic progression in the 2nd theme of the 1st movement of his 12th Piano Sonata that reminds me of the 3rd movement of Vivaldi's Summer.
  24. 1 point
    A very exciting and well-composed work; the music painted a very vivid conceptualization. The textures are very fluid and organic. Nice job!
  25. 1 point
    I am very intrigued by this piece; while not in a style with which I am very familiar, the piece flows very nicely from idea to idea, and there is a clear and logical progression of material. I think you managed well to exploring and developing a lot of the material you present; for instance, I can very transparently follow the initial figures created by the clarinet and glockenspiel (independently, of course). The flute then introduces one of its prime figures -- i.e. the sextuplet -- and I am able to follow how it passes between the lines and transforms, as in the piano later in the piece. Ultimately, I think you did a good job creating a consistent, coherent structure by exploring the material you rendered. Good job, and good luck with the performance!
  26. 1 point
    Yes you are right. But keep in mind that music institutions have made nothing to balance the situation. They raised the standards instead. No talking, no clapping at the end of a movement ( are we kidding? ), no casual dressing, no sneezing ( are we kidding, again? ) , ecc. The anormous amount of formality that goes with classical music has contributed to kill it, and this is why people need to discover again that music is a pleasure, not a formality. They MUST have fun, feel emotions or whatever they want, when they listen to classical music. You talked about radio. Just go on youtube and give a look to views each piece, new or old, has....they are tons! This means people love this music, but the problem is that performance standard and formalities killed the interest in live concertos (as listeners and performers ). Musicians must be able to show people how much valuable live performances are, then a flat recording. And we should make this with two things. 1) We should avoid as much as possible sample libraries. They kill everything...performance, music, job....literally everything. Once we accept releasing our music as tracks, on spotify for example, we lose a big part of our music nature...the goal to be played 2) We should create local communities to enjoy music, even our own music. In order to do this, the music should be comprehensible ( as written in the upper post ) ------------------------------------------------------ Technology is also a big deal for every kind of activity...people used to read, create things, paint, play, just think or even ( appearently ) nothing...now they have full pocket "entertainment". And I am not referring to smartphones, I am referring to social media on smartphones.
  27. 1 point
    Wow, this was really well written and a pleasure to listen to. It kept my attention ths whole nine minutes with elegant orchestration and smooth modulations. I especially liked how your glockenspiel, harp and woodwinds worked together to create delightful flourishes and embellishments. If I had any suggestions, it might be to move the melodic line around a little more -- I wasn't really keeping track, but it felt like a lot of violin with some woodwind doubling; a few more sections featuring the cellos or horns could add some nice contrast in a lower register. There were a few places where the time signatures were doing weird things. On page 10, the rhythm switches to 3/4 with no change in notation at m. 42. The time signature finally changes on pg. 12, m. 57. The same situation happens on pgs. 40 and 41. It may be that I am misunderstanding something about the use of common time in waltzes -- those spots on pgs. 12 and 41 just threw me off. I'm also kind of astounded that your music program has the option to play back the waltz with the traditionally stilted Viennese rhythm. It added a really nice authentic vibe to the playback. One final question: is it usual to have such an extended section in 4/4 time to start off a Viennese waltz? Really great work; thanks for sharing!
  28. 1 point
    It seems you misunderstood me. Never talked about progress for progress sake, but progress for art's sake ( meaning art as description of beauty, if you want ). I would never treat my audience as idiots. But if I compose something, better keep in mind the way people today " receive" music...2/3 minutes tracks, lyrics and singing, very high volume. If I want to be sincerely appreciated I must keep in mind this thing are lowering the "listener's quality...so I have to deal with them. I agree with yoy about the desperate ways to create originality and new standards, and I also agree with the uphold prior standards solution...but this is a theoretical idea...now we have to find the correct way to applicate it. Alma Deutscher fills the concert halls because she is a child prodigy...not because her style. There are tons of composers that use her language but no one has the enormous success she has...the difference obviously is in the age of composers. If maybe we would come back to those times were new music was composed with the aim of being played, we could have better times. Think about it...before romanticism music was composed because people needed something to play. Maybe playing ( mainly )dead people is what keeps us back. Just throwing there some ideas for the sake of discussion...no thesis here.
  29. 1 point
    This is really good! I love the power and the vigor in the 1st movement! It kind of reminds me of the string quartets of early Beethoven or Haydn or Late Mozart, in terms of emotions and style. Also, you made excellent use of the unusual arrangement! I would love to hear your other quartets. Best, Theo
  30. 1 point
    I don't really know what to say. This is a spectacular work. The instruments are interesting and blended perfectly. Certainly, your decades as a composer have been worth it.
  31. 1 point
    @SSC I strongly recommend you to be more humble. Also I wouldn't rely so much on science. And music is not academia, it's an Art. Also you seem to think that education, and musicology makes us nowadays better, more wise and knoledgeable than old masters. Remember: Bach, Beethoven, Mozart, Vivaldi, Haendel and many many others, they were not professors. No, they can't, and computers will not be able to write fugues like Bach. Ability to obey the rules of counterpoint isn't all, it doesn't mean that the work has any artistic value, not to say value equal to Bach. You have to be very arrogant to think you are able to compose like. Discussion with you is like discussion with a person of enlightement era; they thought that one who doesn't have formal education has nothing to say. That's not the point, wether it was Bach who wrote those pieces, These pieces exist, so they must be written by someone in the past.
  32. 1 point
    Hi, I've been working on a piece that would theoretically be used at a Visitor Attraction, playing in the background on a continuous loop. I've gone with a sort of tropical / adventure feel that you might see at many family oriented attractions. I'm assuming not many of you have delved into visitor attraction music before, as it is quite niche, so for those who don't know a typically good piece of area music is normally about 30 minutes long, will be able to take place in the background without distracting the listener from what ever it is they're doing, and create a constant atmosphere throughout the loop whilst not feeling stale. Another thing unique about area music is the listener will never listen to it from start to finish, so typically area music doesn't have a discernible beginning, middle or end. These are points I've tried to hit whilst composing this piece. Whether this comes across or not though is a different question. I appreciate this is a very long piece of music so even if you just listen to a few minutes of it or just have it on in the background whilst doing something else, any feedback is much appreciated. Thanks
  33. 1 point
    This is nice and smooth.. I really enjoy watching you guys play it too. One question - where are the smoky solo's?.... come on.. they are there somewhere waiting to be heard. What you've got now is good.
  34. 1 point
    In a lot of scores, there is actually just 3 full pages of rests for those instruments that happen to not play. I know many conductors who prefer this visual score style as opposed to the alternative, where instruments that don't play are simply removed from the pages that don't include them (excluding the first page – the example below is a bad one of this). Two slashes are used to indicate a break in the system if only few enough instruments play to warrant a page break.
  35. 1 point
    @Theodore Servin Wow...your introductions make me want to get to know these guys better!
  36. 1 point
    A better solution may come along at any time, either in a flash of inspiration, or through serious thought. Don't worry about it. Even if it never gets solved to your satisfaction, it's a documentation of where you were at that point in your development. This is why I seldom revise my own compositions later, and leave them as they were, even if I know better. I want there to be a record of my development. I have this slightly pompous idea that someday, someone might actually care! 😉
  37. 1 point
    This is a piece which I wrote in december. The theme is a polish christmas carol "Gdy się Chrystus rodzi" (When Christ is born). MuseScore performance of dynamics in 3rd variation isn't good :/ but you can use your imgination ;D Let me know what you think!
  38. 1 point
    I quite liked it. Harmonically fairly basic it's unpredictable, the abruptness of the ending that I particularly liked, leaving it just hanging. The rocking between subdominant and dominant worked because it's a pretty lively piece and short enough not and you did vary the tonal centre part way through. It had hints of Nyman's "Think Slow Act Fast" to me but only just. I looked at the score. Perhaps I'd have done some of the doubling differently but what you've done would work. Not sure about all the tuned percussion being necessary but that's just my opinion and it may be just what you want. Some of the balance was lost with this particular rendition. If performed, a conductor should sort out any problems there. Edit. Maybe I should add, given the section in which you've posted the work, that I see it as a piece complete in its own right, not part finished. It could be one of a suite of movements.
  39. 1 point
    I appreciate the live rendition, and incidentally, the visual filter you used fits the somewhat Impressionistic style of the piece. Cool! Definitely better than the midi version. Part of the appeal of this piece is more the feel of the reverb and echo of the progressions, rather than only the notes themselves, if that makes any sense, so I'm really happy you put up a live performance. I think you really did a great job with the atmosphere, it's captivating. However, I think the B section at the about 2/3rds way through was a little bit too much. The L.H. is too loud and repetitive, and I think it bogs down the atmosphere rather than giving it another dimension. Maybe try adding softer dynamics, like mf, so that there is some cresc., but not too much so that it sounds over-dramatic. And as interesting harmonically as the beginning and end are, I think the B part should have more interesting harmonies in the L.H. too. But that's just my 2 cents. Thanks for sharing, this is a really neat piece. 😄
  40. 1 point
    This is a very good start, as you are new to composition. One of the things that I look for in a piece is direction, and your music always seems to be going somewhere. However, I think there could be more flow. Some harmonic changes are quite abrupt. As a flute player, I can say that some of these notes are very low, and some may be impossible but I cannot tell just from listening. This is very nice - well done!
  41. 1 point
    As an experiment, I wanted to compose a piece for soprano saxophone, as my friend plays the instrument. It begins in a drifting, dream-like state with the strings providing a variety of colors. From the conclusion of the dream-state, an idea in the saxophone is presented. In a story type manner, this faster theme is progressed until it devolves back into the dense strings again with the initial iota being reiterated. This becomes an intense outburst at full volume until it ends quietly. The music begins again, replicating the three-movements of a concerto on a miniature scale, reintroducing previous themes. The music ends with a repetition of the intense contrary theme, re-notated from before. Let me know what you think! Also, I finally re-organized all my music, so I have proper opus numbers now.
  42. 1 point
    It's so obviously accomplished and shows massive experience in the classical style, scoring, form and so on so I can't find anything to say - except you'll certainly get your money's worth with the oboist. And, d'you know what? It's so refreshing to listen to works like these. Superb.
  43. 1 point
    Well done! Another brilliant piece from you. I too want to write an oboe concerto. Unfortunately, my flute teacher, who is a brilliant oboist, will be moving at the end of this month. I will not be able to give a finished project to her in person. The many melodies of this piece are wonderful. I think, as a woodwind player, the difficulty lies in fast scales which are more difficult to produce a clear sound on the oboe because of the double reed. High notes are difficult to play controlled and even. The 'frightful' trills in the second movement are actually one of the best moments, but because the oboe has been trill keys, they are having to change fingers completely. Thanks for sharing your music!
  44. 1 point
    I tried to imagine a suitable cinematic backdrop as the music on its own was unchanging: the same limited harmonies and unrelenting rhythm almost throughout, down to the fade out at the end. Fine in a film context - dark, sombre, not particularly threatening because the dynamics didn't build up. The break at around 3 mins was welcome and I thought it would move into a new episode - but no, by 3'45" it had reverted to the opening scheme. It's a mood I occasionally listen to, having spent tome time with music of various artists in the "Live at Bar Maldoror" series, particularly that most sinister work from Current 93. So to conclude - yes, it would probably work underpinning some darkly moody film sequence but as a musical piece alone it lacked variation. That's just my opinion though. Others may feel differently. Nice moniker for this kind of music.
  45. 1 point
    Not sure what's so experimental about it, unless you're not using the term in the sense of the genre; that is to say, it might be experimental for you. Regardless, it's fine as a piece but is ironically too safe. Harmony is preserved in cross voice motion and despite tonicizing different chords within the progression, I hear at as a modular progression. Your use of cross rhythms and direct metric modulations need particular attention. While I do hate it when people say repetition legitimizes, lack of continuity is even harsher. This is not a through composed piece and yet many of your sections give the impression that it is, creating this bizarre disconnect between what's heard and what's written.
  46. 1 point
    It's nice, but there several issues can be said. Some chords and parts are impossible to play... The left hand could bring contrasts, not being the same all the time.
  47. 1 point
    Awesome! This was a lot of fun to listen to! Congrats on getting it performed by such great musicians. It sounds great.
  48. 1 point
    Interesting. Do you see yourself growing out of this style someday? Is it part of a continuum or are you set, as it were, for life? Are Mozart and Beethoven the only thing you listen to from the repertoire?
  49. 1 point
    Yes, I feel like there's a little bit of metal percussion overuse. I've played pieces in band where there were cymbal rolls all over the place and that annoyed me a little - I feel that overuse of these percussion effects can lead to them losing their effectiveness. I think in particular, the triangle notes in bars 24 through 29 felt superfluous. The glock was also starting to feel overused by bar 53. Changing the role of the instrument can help. I liked the glock at bar 74, for example, because it was clear that it was a supporting role. Doing that gives the piece more variety of colour. I stopped noticing the triangle later on in the piece because it too became part of the texture, and it became a welcome addition instead of feeling old. Using a particular percussion instrument all throughout a piece isn't always necessarily a bad thing. John Mackey is one composer who tends to rely on the same percussion instruments quite a lot. His 'Aurora Awakes', for example, makes extensive use of the vibraphone and marimba throughout its second movement (about 6-7 minutes worth of music). I think the reason it works there is the reduced attack of those instruments, and the fact that the piece only draws attention to them when they first come in, before then fading them into the musical texture. A glock sticks out a lot more. Having said all that I did enjoy your piece, and there were some really nice unexpected colours in there!
  50. 1 point
    G7 at :18 sounds really out of place with no extensions. Try b9 or 13. Same at :39. Retardation in oblique motion to a unison pitch at :26 is bad voice leading. Parallel 4ths after the Am9 chord (A/D dyad) aren't quick enough for the audience not to render a response to it. Everything is also too loud. Timbre of the ride cymbal makes it sound like it's being struck. Piano is too loud. Sax is generally fine but a bit off in this combo in terms of its use. It plays too slow and outlines a missing harmonic tone too often. Jazz arrangers like to say add extensions to every chord to make it sound jazzy, but it sounds like you took it too literally here. The last three chords all have 7th's but the voice leading is off (standard root position is awkward) so they all sound a bit off.
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