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Showing content with the highest reputation since 11/14/2018 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
    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!
  3. 2 points
  4. 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.
  5. 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.
  6. 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!
  7. 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".
  8. 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.
  9. 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
  10. 2 points
    One of my most beloved preludes by the public:
  11. 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.
  12. 1 point
    Here I have one of my composition assignments. The task was to use a famous musical quotation; here, I use it rather transparently, but if unfamiliar it is Erik Satie. Moreover, it had to be about two minutes long. I plan on writing multiple miniatures: this, the first. Much of the inspiration for the name -- sculpture -- is in my own paradigm toward composition; I think of it as like the act of sculpting and in very visual fashion, associating music with color. Enjoy! (I left it in concert pitch for ease of reading)
  13. 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!
  14. 1 point
    Hi! I would like yo show you a new video. In this case it's quite experimental. I would love yo know what you think about It! Thank you so much. https://youtu.be/M6PcAxbFIFU
  15. 1 point
    Hey Guys, Do you know old silent movies, like Nosferatu? This is my favorite scene from the film, and I decided to make an own music for this scene. If you like my soundtrack, share it and like it! Don't you want to miss my next track? Follow me on Facebook! https://www.facebook.com/olivercomposing
  16. 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:
  17. 1 point
    Hello everyone, I wrote this piece in late 2017 and back then I didn't know much about harmony, but I think this piece kinda shows one of the styles of composition that I'd like to continue in the near future. Hope you like it. Please let me know what you think about this piece.
  18. 1 point
    @Bill Jones Thanks very much! Very glad you enjoyed it. And regarding a live performance: from your mouth to God's ears!
  19. 1 point
    Hey! The Kansas City Symphony (the symphony orchestra of the town I am from) just performed this symphony a few weeks ago. The last movement is very cool.
  20. 1 point
    I would exactly call this a rondo (strikes me as a type of variation with a consistent harmonic progression repeating, like a passacaglia sort-of); though one thing I love doing with my works is printing them out and annotating it, marking important figures and motifs, the structure, the major sections, etc. Give that a try! The piece is very calm and absolutely has an intuitive, improvisational quality; you build nice drama, though I could see some areas where you could go even further, perhaps by changing register or reducing the texture or something like that. Good job!
  21. 1 point
    I find it Eerie music and Adventurus too! Good work artist Olivér Kovács !
  22. 1 point
    This is my latest track.
  23. 1 point
    Mind traveling music! I like that. Thanks for the kind words.
  24. 1 point
    I haven't seen the original work, so I'm just looking at this as a concert band piece. I think the opening develops too slowly - I think it would sound better if four bars were cut out and the vibraphone came in at bar 5. I found the glock/oboe rhythm at 96 quite interesting. If you were intending this to be played by a real band, I would kind of recommend just having the glock play it - the reason being it's a very hard rhythm to play, and even I would probably find myself very slightly fudging it. Which would be fine if I was the only player with it, but two players fudging the same unison rhythm can end badly. Another thought I have is that it doesn't seem like it changes enough. You've got plenty of tempo/rhythmic variation, and you change up the chords, but you don't have any dynamic variation and you often use the same combinations of instruments. These things will come more naturally to you as you get more experience in writing - an idea will come with a specific sound/dynamic/colour in mind. You're also generally using the full range of registers available within the concert band - more ideas for variation would be using only the high register or the low register.
  25. 1 point
    @edfgi234 You have many good ideas of rhythms and your harmony is interesting. However, piece is a bit too long for my opinion and there were some parts where it felt quite empty: It's a bit of a dramatic fall after our ear got used to more rhythmic patterns, more complex harmony and more voices. It feels to empty, at least for me. If you want this nothingness I guess it's fine but I think you should drop these elements one by one. I'd simply give the right hand chords too, so it sounds... fuller in a way. Also I like the way it ends.
  26. 1 point
    I'd like to take a look at the score, but it definitely sounds nice, and sounds appropriate for the time period.
  27. 1 point
    I decided to go onto cpdl.org today for the first time, I was so overwhelmed by shear amount of texts available, which was nice since I had been struggling to find a text to write for. Well I found this one, and it was pleasing to read so I decided to make a (hopefully) pleasing to listen to piece. Its a pretty simple melody, but the harmonies get a little interesting at times. When judging my piece, if you could have a focus on, my harmonies and how effective they are, whether or not my bass part at 22-25 is too difficult for such a simple piece, if the tenor and bass crossing on measure 7 is acceptable and also if my piano reduction is good the way it is rn. Feel free to mention anything else you feel like, I wanted to set a guide on things I'm not certain about in this piece.
  28. 1 point
    I like it, ... some great ideas. I could imagine a prog-rock band working this too Like Yes, with Chris Squire bass, and Jimi Hendrix's jazz period drummer, on the verge of overplaying. Excellent riffs
  29. 1 point
    Thank you both for your comments! You're right Ken320 I'm stretching too much. Great idea about punctuation as fuel.
  30. 1 point
    Birthday Gala – Waltz for Orchestra Scoring: 2 Flutes, 2 Oboes, 2 Clarinets in B-flat, 2 Bassoons, 3 Horns in F, 2 Trumpets in C, 3 Trombones, 2 Percussion Players (Cymbals, Triangle, Snare Drum, Bass Drum, Glockenspiel), Timpani, Harp, and Strings. Style: Late-Romantic, ca. 1880-1900. Composed: November 10 – December 1, 2017 at Austin, Texas. A little something different from my usual Classical-style fare! As its title might suggest, this work – my second waltz for full orchestra – was composed as a (somewhat belated) birthday gift to my husband Max. I began writing it on his birthday and completed it exactly three weeks later – a rather quick turnaround for more than nine minutes of music for full orchestra, but I was inspired! It’s marvelous what love can move us to accomplish. Like most Viennese waltzes, the piece begins with an introduction, starting with a glittering fanfare interspersed with rushing scales in the violins, and followed closely by a zany, almost Disneyesque section evoking fun and celebration. The fanfare returns once more in the brass, modulating to A-flat from the tonic C major and slowing down. A languid “love theme” follows (this was written for my husband, after all), eventually modulating back to the tonic. After a frenetic connecting section building excitement, the waltz itself begins in earnest. After the main themes reprise at the end of the waltz, a faster coda dramatically concludes the piece. It should come as no surprise that Johann Strauss II (1825-1899), the Waltz King, was a significant influence in writing this piece; but perhaps a more important model, and one from whom I learnt quite a few handy tricks of the trade, was the later composer Franz Lehár (1870-1948) – famous for his operettas, but who also wrote some very nice waltzes full of interesting orchestral colours, different from Strauss. While my models were Viennese, and the pattern of the piece is Viennese (Introduction – Waltz – Coda), some of the melodies have taken on a flavour more reminiscent of American popular music from around the turn of the last century, giving the work a somewhat American feeling overall. I have never before made such extensive use of brass, harp, and percussion in any of my work, and learning as I went how best to employ forces relatively new to me was quite an adventure. I really must apologize for the score – it’s a wretched mess, I know. I wrote this piece very quickly in short score, with multiple instruments on each staff, and the glockenspiel line slipped in below the strings as an afterthought. My primary interest was in playback, not readability. Add to that a few bizarre glitches Finale inserted that I can’t delete, and the wreck is irreparable. Eventually, I’m going to have to redo the entire score, but that’s a task for another day. Apologies again, and I hope you’re able to figure out what I was doing. By the way, in case you were wondering, Max was thrilled with his gift, I’m pleased to say! He’s always supportive of my efforts, and with his fine ear and keen sensibilities, he often gives me excellent advice on how my music might be improved. In that, along with everything else in my perfect marriage, I am indeed the most fortunate of men. Happy listening, and I hope you enjoy this lighthearted celebration in sound.
  31. 1 point
    @Noah Brode Thanks for listening and commenting, Noah! I really appreciate it! I'm very glad to hear this. Holding attention with this kind of material is a challenge, and smooth modulations can be tricky, but I think I was able to pull some good ones off. My favourite is the one from C to E-flat near the beginning. I'm so glad you enjoyed all that fluff I threw in! I had fun with that, and learnt a lot. I had never written for glockenspiel before, and it was an interesting experience. I tried hard to make this piece sound as fun and festive as possible. I think you're right, I could have done more of this. Viennese-style waltzes do indeed tend to be somewhat violin-centric affairs; but the masters in this style do toss the tune around more than perhaps I did. I used the 'cello a lot in this, actually, but for some reason, no matter how high I put the volume on them, the 'cellos never really come through. Neither do the double basses, and they really should, because traditionally the bass line is in the double bass throughout, and it needs to be strong. Something I'll need to work on with my software. I believe those places are where Finale threw in an error and screwed me over...I mentioned it in my opening comments. I can't seem to delete these aberrant time signatures, so I'll probably have to redo the entire score (I probably should anyway). I'm sorry they were confusing. Yes, Finale has its challenges and it's not perfect, but a few of the things it does well, it does very well indeed, and "human playback" is one of those things I've been very happy with more often than not. The "Viennese Waltz" setting is particularly effective. Let's say that it's not without precedent. A very famous example of one with an extended introduction in duple metre (cut time) is Johann Strauss II's "Kaiser-Waltzer" (Emperor Waltz) Op. 437 (1889), which opens with a slow march. Similarly, Franz Lehár's "Gold und Silber" (Gold and Silver), Op. 79 (1902) begins with a short march section in common time. It was these examples that gave me to believe that I could get away with one myself. Not all Viennese waltzes begin with an introduction, but many do; I believe they served as time intervals during which dancers could catch their breath, check their dance cards to see who had the next dance with them, and so forth. Again, I really appreciate you listening and commenting to such extent. I had begun to make peace with the idea that nobody would, which makes your review an especially pleasant surprise. Thanks again!
  32. 1 point
    Hello everyone, Here is a little piece I wrote over the holidays. The theme is actually a mix of 2 themes by Rachmaninoff combined into one, from the 2nd movement of his Piano Sonata no. 2 in B-flat minor, and his Prelude in B minor. It is a short piece, only lasting 6 minutes. I might add another piece to the opus number later on, but in the mean time, it will remain as is. Here is my performance on Youtube: I hope you all enjoy. 🙂 Theo
  33. 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.
  34. 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.
  35. 1 point
    A waltz I wrote recently, based upon an idea I've had a very long idea. Comments, thoughts, criticisms all appreciated. https://app.box.com/s/unxi7fy67skb4p6cxu6jcxk7ff5dbvsk (Music file) https://app.box.com/s/sxyj3ygiv1ofz38enylk8gq33nrh8emg (PDF file)
  36. 1 point
    Your thought is exactly the product of science-over-all approach ( even though you have shown to have no real knowledge of frequency theory, since you ignored the "science" behind the universal concept of overlapping ). To be honest, I don't really need someone to tell me I need music education, since I have a degree in guitar, and currently studying piano and composition. The difference between my thinking style and yours, is that mine is free from all "scientific" trash. Science is something I use...not something I am used by. I stand very well and every kind of opposite opinion. But they have to serbe to the discussion...not to the person who presents them...and my impression is that you really argue for yourself, for your convictions and for your " academic knowledge". Let this thread to us poor ignorant and keep instructing superior minds about academic truths...
  37. 1 point
    First off, do not engage SSC. (S)he is too caught up in the post-modern self-delusion of, "it's all about how I feel about it". Not worth it. Second, I offer my opinion to your observation here To put it in a nutshell: The kind of education that is dominant post-enlightenment is the idea that nothing in the world has any inherent meaning — it's all just a force of nature — and any greater meaning you see in it is just how you feel about it. Once you understand this, you start to see what's fueling a lot of today's crazy people. Because, if you live your life this way, you stop asking how you can find purpose within the world and instead going about manipulating the world (including people) around you to suit your personal feelings about it. Thus — Michelangelo's work on the Sistine chapel is not really of any higher standard, artistic worth, or aesthetic than any old graffiti on a train car, because I personally think the latter is really cool.
  38. 1 point
    Wouldn't even call this my style but I still thoroughly enjoyed it, to my surprise.
  39. 1 point
    Hello Everyone, This is another experimental etude I wrote recently. The whole piece consists of many modulations. Again, there are syncopations and irregular time signatures. I have included some notes in one of the pdfs. Hope you like it and I appreciate your comments! Best, HoYin
  40. 1 point
    Hi Gustav - thanx.. This was all done in Logic Pro in my living room studio. . . I have a rather extensive Kontakt library, and own almost all of UVI's libraries, played thru the Falcon virtual instrument. On the acoustic sounds, yes they are samples of 'real instruments' also a couple of hardware synths.. I also have a fair amount of virtual instruments. Lately. I compose a piece, and then spend a fair amount of time, 're-voicing' it. That is I search thru libraries, and patches, and find sounds that 'fit better'. It often means re-recording parts, in a round robin manner. That is I pick a new bass sound, (go from electric bass to an acoustic bass). Then I re-record the piano part, then the guitar etc. The new bass, piano, guitar, then suggest to me to re-do the drums, etc. I had read years ago, Prince would do this. Eventually recording a fair amount of the instruments in a piece several times. The end result is the piece, sometimes has little to do with how the piece originally sounded, So I've been doing the same.. The good thing about DAWs, of course, is you can save all the takes, Sometimes I add a few parts, then a couple of days later, I decide, I took a wrong turn, so I go back to the earlier version, and go in a different direction.. I feel pieces, especially 'sound paintings' as you call them, have a personality of their own, and just as it takes some time getting to know someone. It can sometimes take time for the personality of a song, or piece, show it's face. I spent my whole life, playing music, most of the time, doing what paid the rent, sometimes composing, and working with people, that wouldn't be my natural choice. (not that I ever worked on music I hated).. Now in my senior age, I want to explore 'musical landscapes'.. Not too concerned with all the formal music rules I have learnt and abided by. (of course a lot of that is still there).
  41. 1 point
    @HoYin Cheung I love Moszkowksi and Chausson as well! Both pieces that you mentioned are masterworks too! I also love the Piano Concerto no. 2 in E major from Moszkowski and the Piano Quartet in A major from Chausson.
  42. 1 point
    @Theodore Servin I personally think Stanford is amazing. Check out his symphonies and Irish Rhapsodies for the full English Romantic orchestral treatment. For a tidbit of one of his finest pieces of church music, here's a fine performance of his "Beati quorum via" for 6-part mixed chorus a cappella with scrolling score: The first time I sang that motet as a young chorister, I wept for joy - no lie. Agreed about Rheinberger - an apt description indeed. One of my favourites of his is the "Abendlied" (Evening Song), again with scrolling score: If you get a chance to listen to these, let me know what you think! --Joe
  43. 1 point
    @J. Lee Graham I'm very glad to hear that! Now, I'm also interested in checking out more of Stanford, because I must confess, I have not listened to much of his music. I do like Rheinberger's music very much; very sophisticated and well thought-out music. I enjoy this kind of romantic music. Best, Theo
  44. 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! 😉
  45. 1 point
    Thank you! @J. Lee Graham actually the only reason I started the fughetta in c major was that I wanted to begin with 2nd violin and I thought F major would be either too low or too high. This forced me to insert these four bars (91 - 94) which don't sound good to my ears, but I didn't know what to do :/ @Theodore Servin Thanks! the piece was performed by me and my friends but unfortunately I don't have a recording
  46. 1 point
    One of the things found in all the research is that, since you can get emotional responses out, well, basically any kind of communication (languages you don't understand, noises, whatever,) you can argue that the degree of "understanding" you have of a language just allows it to trigger finer and more nuanced responses (expectation breaks, comedy, etc, all that.) The "problem" of something like serial music or any kind of music that is "random" sounding enough that it makes you default to basic responses is that it can't immediately engage you on the level of stuff that you're familiar with. This obviously changes drastically the more you expose yourself and familiarize yourself with different kinds of musical languages. One thing that happens when you ARE familiar with the musical language, enough to have actual expectations, is that a curious things starts to happen which is that music that constantly breaks expectation is more "interesting," or "pleasurable" to listen to, but the break has to be just right. Too tame and it doesn't excite the brain centers enough, too harsh and it pulls you out of it. This kind of expectancy "curve" is what drives a lot of music composition from all sorts of people, Beethoven, Bach, you name it. They did it, obviously, purely on intuition, but we know now that they were "guided" by how the brain actually perceives those breaks in expectation. There's a lot to unpack in this theory, but I've been investigating this subject for the last 10 years, I think it's amazing how much we have discovered. Additionally, this can apply to any musical language, all it takes is enough consistency and familiarity to develop expectancy. Here are two papers you can read that back up my statements: http://www.stefan-koelsch.de/papers/Fritz_2009_CurrBiol.pdf and http://www.stefan-koelsch.de/papers/Koelsch_2008_ERAN_EDA_music_meaning_syntax_emotion.pdf There are a bunch of other papers that go in depth into both things, usually with new studies and some new insight, but these are good starting points. You need to brush up on some neurology to really understand what's going on in the brain itself, but you can get a pretty good idea of what's going on even if you just look at the graphs.
  47. 1 point
    Like I said before, mine only has notes on 1 side, so can't help on that question. There are a couple of publications in English available on Amaz, though haven't tried them myself. Suggest getting hold of some recorded music, listening to it and then working it out yourself. Alternatively, there are vids on YTube to watch and then listen to what the instrument sounds like when you blow and use the fingerings of it.
  48. 1 point
    Agreed more or less. CPP and counterpoint probably developed as "pleasing" to the ear because the human is attuned to the harmonic series. Minor keys sound sad or angry because the 3rd of the minor scale clashes with the natural 5th harmonic of any fundamental - and things. I believe a certain level of semiotics comes into music in that unless I'm wildly out, its performance seeks to communicate something to a listener so there must be elements understood by both performer and listener. It involves expectation: resolution of contrived tensions. Stray too far from the diatonic and problems arise. I used to listen to BBC3 Hear and Now. So often the works were neither pleasing nor did they make any sense, tonal or structurally. Occasionally they did but I got the feeling that much was just thrown together by people in musical education who really didn't know what they were up to or what their "composition" should sound like. I felt someone's embarrassment once at a summer school where one of these "composers" presented a score that looked good on paper, all very complicated but... the ensemble's conductor played a section then asked what the composer thought. The composer thought it was fine. Then, said the conductor, let me tell you... and he listed a whole lot of instances where things hadn't gone as per the score. Oh dear. That's why I think re Hear and Now and elsewhere, so many of those premières were also their dernières! Such music clicks with some listeners, others not and I suspect fashion comes into this more than a little!
  49. 1 point
    Seems like a bit of a straw man, no? My point is simply knowing the artistic concepts doesn't translate to good art inherently. That takes time, and yes, experimentation.
  50. 1 point
    The only thing I'm going to nick-pick about this wonderful composition is that you should change "Contrabass" to "Doublebass". Don't mix the instrument languages. Contrabass is French, Doublebass is English. Speaking of language, you use the German language for the opening style. In American typesetting, you use English or Italian (a weird orchestration/typesetting rule). Something to think about,
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