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  1. Hi again, I had the thought that I wanted to do some smaller stand-alone pieces that would require less stamina for people to play and that were short enough that I could do the calligraphy aspect without a significant time investment (I don't use stencils or anything)....the thought kind of arose out of doing the piece for Mike's slur video which was along those lines. Here they are with the scores in the video, and the newer one is on flemish virginal instead of clavichord which is cool. They're not a set but they're both small so I figured might as well put it in the same post. It would be awesome if someone out there decided they wanted to play stuff like these, since I made them so they wouldn't be such a huge undertaking but would still give people the vibe they're looking for with the late Renaissance.
    5 points
  2. I have recently had an interesting mind experiment with myself. I have sometimes thought of maybe going back to school for a master's in music and I've heard some great advice on discord stating that one should seek out a good composer/composition teacher that one would want to study with and go to that school where you'd be able to study with them. So I imagine to myself that I have already done that and I'm sitting with my teacher in their office, listening to some of my music, and they ask me "So what are your musical goals in regards to musical composition? What do you really want to achieve here?" That question is what inspired the following list (in no particular order): Write mimesis music - mimicry of various natural/unnatural sounds through reinforcement of harmonics in the orchestra Feature aural illusions in my music Continue writing variations pieces on various beloved pre-existing themes or newly composed themes Write a programmatic symphony Write an original piano sonata in a unique style without resorting to cliche pianism Continue finishing old pieces that I started over a decade ago to stay connected to my past Learn galant schema and use them to write original pieces of music Continue writing old Baroque dances in a new style and include different dances besides the minuet in my symphony Write occasional pieces of music utilizing dice and/or chance/aleatoric techniques/elements But ultimately - just follow my heart and write passion projects rather than cerebral exercises. Those are the goals I came up with. Share what you think of them or what your own personal goals are and how they might be different from mine! Thanks for reading. Peter
    3 points
  3. I think you are a very talented composer, and I fully enjoyed this. Very fun rhythms! While I can't call myself an expert in counterpoint, all I know is that it was an extremely enjoyable experience to my ears. The fact that you mostly use short and quick rhythms greatly enhances the longer duration notes you add, which really brings out this piece. I would like to remind you though that there will be constructive criticism of all types on this forum. If you disagree with a remark, that's perfectly fine, but there is no need to get upset. I recently put myself out into the public eye (yikes) by becoming a YouTuber, and criticism is just a part of putting our creative works out into the world. I've read through all the comments here though, and there was nothing offensive being said to you.
    3 points
  4. A friend of mine was lamenting the fact that nobody has ever made something special for her, so for her upcoming birthday, I've written a set of orchestral variations on "Happy Birthday". Variation II contains a figure based on scale degrees that spell out her birthdate, while variation IV contains an ostinato based on her initials. Any comments or criticisms would be most appreciated!
    3 points
  5. A few more. Here's what the book says about Mahler: Mahler had an incurable ambition to write the longest, noisiest and most expensive symphonies in the world. This he actually achieved several times and not surprisingly, it was a long time before people could be persuaded to listen to them or that impresarios felt like trying to make them do so. It was suddenly realised that Mahler had not written long, boring symphonies of the Brahms type which you have to listen to carefully from beginning to end in order not to miss the themes, but had, in fact, simply strung together hundreds of attractive little tunes, and it was possible to go into a coma for a lot of the symphony and still get involved when you came to again. It is possible to switch on the car radio in the depths of Surrey to what appears to be a Mahler symphony well in its stride and to arrive in London and find a parking place with it still going on in a forgetfully energetic way that suggests it might still be in progress at 5.30. It is quite obvious that all conductors get lost during a work like the 7th which Mr Cooke has now called the ‘Mad’. No doubt someone will prove one day that Mahler was crazy. If not, why did he go to such trouble to write so much when he achieved better results in his short symphonies like the 1st and 4th. ABOUT Bruckner: "It is generally said that Bruckner was a simple man - practically a Nature Boy, you would gather from some writers. If, after listening to one of his symphonies, you still feel that he was simple, then we must all be gibbering idiots - well, perhaps there is something in that. In fact Bruckner was as deep as the Ocean. He was also an organist and organists are far from simple men. / Another misrepresentation of Bruckner is to bracket him with Mahler. The only thing they had in common was a liking for long symphonies.....(etc) = = = = And another couple of definitions: Pentatonic: Music that can be played on bagpipes. Perfect Interval: A period of time long enough to queue up for and consume a cup of coffee. .
    3 points
  6. Hello! I recently started writing this Nocturne for my final project in my Music Appreciation class. I wanted to know your thoughts on the A section so far. As you can tell there will be a contrasting B section that hasn't been completed. But what can I improve on this piece? Nocturne_in_E_major.mp3 I FORGOT TO ADD "ADAGIO" TO THE TOP PRETEND ITS THERE.
    2 points
  7. after a quick listen if you want some feedback I think this needs more contrast in terms of instrumentation at least like what happens at around 1 minutes and 40 seconds. Nuances in all aspects is good for the ear but if you stay to long for the same instrumentation, tonality, what ever it may become boring for the ear as is quickly get used to the sound. Instead of the Guitar (i think) Having the main theme always try to give it to other instruments. Let them have sort of conversation so the speak where maybe the strings have the main theme then the Guitar becomes background element and then the Guitar takes over instead of mostly having the theme. I just think switching the main focus here and there could improve it overall. Maybe also some Rythmic variations as the Rythm or tempo seem to be constant through out. Maybe a few Nuances here could help as well. I also think that the piece starts too sudden maybe spend a few minutes building up to it. It feels sort of like starting at a climax at the piece. If you want some listening recommendation i would recommend Mozart - Jupiter fourth movement (as it demonstrates what i am talking about regarding instruments having a conversation) Maybe some music from Ramin Djawadi some of his horror music? Like Slender Man, Game of thrones? Maybe Penderecki - Threnody for inspiration. Overall i think the concept is really promising. Good work.
    2 points
  8. I was recently inspired by @gaspard's vision for a "Space Battle" variation of Brahms' Lullaby (for @chopin's Lullaby Challenge): I also link his YouTube video here: Brahms Lullaby, Space Opera Version (not orchestrated) You may also view his hand-written score here: And you may also listen to his performance of this variation on his clavichord below. In my orchestration of the piece I tried to channel @gaspard's vision for a "Space Battle" variation. I added some dissonance in certain places and tried to make the orchestration overall sound as big as possible. Let me know what you think of this collaboration! I really got a kick out of writing this orchestration. In the spirit of the original poster, I have included my hand-written score as well as a score exported from Musescore. I hope you don't lose yourself in the mess of files! LoL Edit: Also, it would be useful to know if the original Brahms' Lullaby is still audible in both the original and orchestral version. Thanks for any comments, suggestions or critiques!
    2 points
  9. @gaspard I don't see a stand alone post of yours for the entry, so I'll just say here that your entry is awesome to me. It's very colorful and jaunty, and even if I didn't know the space battle theme beforehand, I would've definitely stood in favor of it depicting a battle. Very cool music! Your writing is superb, and only outshined by your handwriting. The score is beautiful 😄 Peter, your orchestration is awesome too, and really brought Gaspard's music to life. It's very rich and heavy, but lighter when it needs to be. I like when you took out the clarinets and trumpets, that seemed like a wise orchestration decision to make the music more gentle over the flurry of harp notes. I think the theme could be easily heard with both versions. Maybe a little easier with the orchestra since it's not all homogenous in sound.
    2 points
  10. Finally, a smooth panning functionality has been added in the latest MuseScore 4 patch (version 4.2.1). Even though it is not nearly as "smooth" as its MuseScore 3 counterpart (dare I say, quite a bit jittery (at least in my opinion)), it is quite a considerable improvement for me, since the video format I have ostensibly specialized in relies quite heavily on this one feature. Unfortunately, concerning the Basso Continuo part, figured bass playback is unfortunately not yet a thing in MuseScore (at least, not that I know of), so I had to resort to fleshing it out to the point where at times it might seem like a totally independent harpsichord line. Still, the additional benefits when it comes to the violin soundbanks are truly priceless, and as such, with the aforementioned deficitary deterrent out of the way, I feel I can finally move on to MuseScore 4 by default. As for the piece itself, I originally conceived it as a two-voice fugue, but eventually decided to add a harpsichord part serving as basso continuo to enrich both the timbre and the underlying harmonies of the intertwined melodic lines in the violin parts. Enjoy! YouTube video link:
    2 points
  11. You know, I like this piece a lot. You break out of your usual style of writing here, creating a balanced contrapuntal texture that is not dense, with plenty of nice sequences and imitation that brings contrast (the hockets like in mm. 19 to 21 are great). I also don't agree with some of the things @Guillem82 mentioned: I don't see or hear any harmonic mistakes/unresolved dissonances, and I don't mind the doubled notes on the violin. Sure, it's uncharacteristic but in this case it works fine, just like the distant modulations. Moving on to things I don't like...I would surmise it as: There is no apparent organisation or plan of your musical motifs. Let me elaborate. Regarding the first point, I remember saying to you before to analyse what Bach does in the WTC with his fugue subjects in order to get an idea of how to develop them (the formal term is fortspinnung). I really would like to make this recommendation again. It is not just fugues, or even Baroque music that this skill applies to - a control and constant development of a limited number of musical ideas is a trait of virtually all classical music. Especially in contrapuntal music, a failure to do this ends up making much of your music "noodling", where you have correctly constructed melodies, harmonies and parts that work with each other, but virtually zero connection between one bar and another. As an example, when I wrote the fugal section of the Overture of my Keyboard Suite, I recognised that the driving rhythm will be 6 semiquavers-per-bar. To achieve motivic unity, I limited myself to three possible settings of notes to this rhythm: an ascending scale, a turn figure (both of these can be found in the subject), and a rising fourth from the 2nd to 3rd notes followed by a descending scale (found in the countersubjects). You can check for yourself that except at structural cadences, every group of 6 semiquavers in the 242-bar long piece belongs to one of these three settings or their inversions. This is a somewhat extreme example; the Air for example is far more loosely bound by motifs, but I stand by my point. When you look back on your fugue, ask yourself: what is it that ties the whole work together? To me, it's certainly not the subject! The lack of subject entrances aside, the head (very nicely composed) has a characteristic descending, dotted, pattern which completely disappears after the first few bars! The tail (also very nicely composed) comprise of a descending scale and a rising seventh chord in quavers. Both of these elements return very rarely for the rest of the piece. So, if your core musical idea isn't actually the subject, what is it?
    2 points
  12. @chopin My apologies for my response to @Guillem82's remarks about my work. As much as I should have respectfully defended my work, I'm afraid I'll have to admit I blew my reply out of proportion. I'm deeply sorry that was the case. I should not have behaved in such an immaturerly hot-headed manner, and there's hardly anything exclusive to this forum that could excuse that on my part. I now have come to appreciate such kind, constructive criticism and believe myself hopefully ready to plead responsible for my statements and strive for your forgiveness.
    2 points
  13. Difficult to say. But I think that it is a bit similar to Bach´s siciliano. Could it be a variation/arrangement for guitar of this piece?
    2 points
  14. I'm no counterpoint expert so I'll just say what I feel, don't take it as a lecture but rather with grains of salt as I understand the harmonic progression of the subject and the countersubject is VI-IV7-VII-V7-(i) I might be wrong but the second beat does not feel very invertible for some reason... what if the subject's fourth note is moved down a tone? (GABbGCBbABbCADCBb) just a thought... actually, that's what you exactly did in bar 16. For bars 28 and 32 this will also avoid the apparent parallel fifth. The inversion seems fine. There are a few other places I felt strange but I can't exactly find solutions. Hmm... I've been less useful than I'd imagined. Sorry. Btw for me sitting in front of a keyboard and trying the notes helps.
    2 points
  15. I was bored yesterday, so I composed a bicinium based on 'Twinkle Twinkle Little Star.' Let me know what y'all think! I used cantamus.app to render the voice, by the way.
    2 points
  16. @Henry Ng Tsz Kiu recommended me a fictional novel, "The Unbearable Lightness of Being" by Milan Kundera and I happened to find a great musical example/discussion about Beethoven in it!
    2 points
  17. I will just list 2 for each categories haha. On music theory I love “Harmony and Voice Leading” by Aldwell very much! “Introduction to Post tonal theory” by Straus is great too. On Form I love “The Classical form” by Caplin, “Sonata Theory” by Hepokoski, On counterpoint Kennan’s is an essential read and I also like Jepessen’s book on 16th century counterpoint! For music history Taruskin’s history is so great, but I have only read the first two volumes and have the other 3 still in my cupboard…… Henry
    2 points
  18. This is a revised version of an old fugue that I uploaded last June. It did not get much attention back then, so I hope for feedback regarding the relatively strange counterpoint, especially in the last page.
    1 point
  19. Hey @Aiwendil, I love the orchestrated version of the Happy Birthday! And the countermelody added in variation 1 is so energetic like in many of your previous pieces. Sad, my figure will be a boring D major chord LoL! But it’s quite innovative to use this method!! For the fugato there’s a parallel fifth btw viola and 2nd violin in b.73. Also the key signature should be d minor? I really love the orchestration here! Maybe you can go into some more closed keys like F major and A minor! I love the Dorian favour in var. 5. And for bar.6 it’s so clever of you to change the melodic contour which change the mood to more contemplative! The ending variation is so grand and the climax is so well prepared with those flat key progressions!! Maybe you can quote one last time your friend’s motive at the end by the trumpet! Just like the end of the 1st mov of Mahler’s 6th when he quotes the Alma motive one last time at the end! Thx for sharing! I love the orchestration and your variation treatment! And if the variation king @PeterthePapercomPoser approves I approve it hahahahaha!! Henry
    1 point
  20. Hey Pabio @Fugax Contrapunctus, Another nice fugue! Just two questions: will the pedal part be able to play those quick notes like the passage in b.51 or similar places? I am afraid maybe the feet cannot play that? Since I can never play football. Another one is why the International Women’s Day will be related to a pedal harpsichord? Thx for sharing! Henry
    1 point
  21. Yeah, you are right. This work-around is valid. Its really annoying that they won't allow this in normal, since I really enjoyed cross-rhythms by juxtaposing peculiar tuplets with normal notes. That rubato-like floating sense is so enticing. I can not imagine 5:7 in triple or quartal meter, though😂
    1 point
  22. Piece I'm debuting with a friend at a new music festival in Illinois next month! tethers - nocture for two guitars in g major.pdf tethers - audio.mp3
    1 point
  23. Wow, very cool piece! It's very refreshing to hear something written for guitar(s) and have it be written by someone who knows their instrument. As you know, guitar midi is by far the worst of midi attempts to recreate a particular instrument, so I ran through a bunch of the parts (am guitarist). I love the clever use of open strings, something that your midi rendition unfortunately can't replicate. The Cmaj7 chord in guitar 1 for example, or like the static rhythms at section C. Awesome stuff. As a side thought, how come you don't record this? Can you perform both parts individually? Yes, it wouldn't be as "natural" with 2 performers as intended, but it would surely give your listeners a MUCH more clear and enjoyable experience (you would enjoy it more too). Unless you're recording this at the festival? You use some pretty interesting chords too, like the strumming sections with a lot of open string chords. All in all, the piece has a very unique harmony throughout to my ears. Wonderful job! I'll leave with a few notes: -mpi at bar 54? -What does this mean? -I had some thoughts on the strumming patterns and the tremelos, but are you fingerpicking the whole thing or switching to a pick at all? -The harmonics are cool, but I felt like you could have branched from hitting all the strings on 5 7 and 12, unless they're "effects" instead? I know you pick them apart later, but it just felt a little "stock" is all. It's hard to tell from the midi 😛 I understand your piece is done, but just some thoughts for the future. This is a lovely composition, and it was really fun to play along as I listened 🙂 P.S. What's the festival?
    1 point
  24. You owe me a HUGE favour for this 😈😈. Probably people find the heaviness of BEEing unbearable too.
    1 point
  25. Yo Peter, I really love this variation! Before 0:33 your manipulating of Brahms’s original melody is amazing when you use some Stravinskian chopping juxtaposition method to chop up and extend the melody with great effect. The first three notes become motive like, the notes after become syncopated. And then the D E F phrase such a great use of harp and glissandos throughout the strings and woodwinds to add some mysteries in it. The next phrase you push those mysterious power to climax and then suddenly you leave a purified version of the 2nd sentence of the original melody! The glockenspiel is so beautiful here as well as in the whole piece, and combining the piccolo here is so like purified crystal. I am sure the baby can be consoled here after the first half of suspension haha. I think it’s very clear here, but less clear in the original version, probably just because of the timbre of clavichord making it less clear? Although you are the paper composer, I have to say that @gaspard’s handwritten score is so beautiful which makes yours messy muahahahaha! Though of course it’s much better than my Beethovanian handwriting haha!! Thx for sharing! Henry
    1 point
  26. Another pertinent musical quote from "The Unbearable Lightness of Being" by Milan Kundera:
    1 point
  27. Hey guys! I just made this video for a YouTube contest, but I think it would be good if I post it here to know your feedback and reaction to the piece.
    1 point
  28. I thought I'd whet your appetite some more for this great book by Milan Kundera "The Unbearable Lightness of Being" with another quote: (some wonderful and lyrical descriptions of music abound)
    1 point
  29. Hi Syrel I feel like... maybe we got off on the wrong foot. It's my fault, as my past relationships would side with you on. 😛 I'm not sure if you remember, but a long while back, you left a scathing review of someone's music here. You basically called them out for their sound samples being mediocre, and proceeded to lecture them on the importance of sound quality. You weren't mean, but rather condescendingly rude, at least in my opinion. Because of that impression you gave me, I said some things to you, and in hindsight I regret it. Maybe I thought I was being cheeky and savvy. None of that is true. Instead, I think a misunderstanding happened. You see, there is a separate community between those in the academic sectors and the media outlets. And sometimes, there is a misunderstanding because of that. Every time you post something, you mention the score now. You also share about, you know, how it's not great and you're just trying to share what you feel like is required here or something. It's not. You don't have to post a score. Ever. You're using a DAW. Trust me, I've written entire orchestral pieces within Cubase. There was a cool competition I submitted one of them to, and it required a score. I converted the notation file Cubase shat out to pdf and showed them the score. Most laughed at me. "Is this even playable?" "No one can read this" Blah blah blah I was so pissed off. I had just gotten the EWQL Orchestra package, and guess what? You have to use a DAW to execute their sounds. That's fine, TONS of composers write music this way. I got decent at separating midi tracks like instruments on a conductor's staff and made it work to satisfactory results for my skill set at the time. It was fun. But when I clicked "create notation" or whatever it was called, it spat out some illegible nonsense. There was no way to edit the notes on the staff (at least to my knowledge), and I felt embarrassed to submit something so ridiculous looking to a bunch of people whose degrees in music let them feel the need to slander anything not reminiscent of a score bearing the precision of spacecraft. I wanted my music to sound as sonically brilliant as possible. No orchestra is ever going to play my music, let's be real. But I've made a decent enough living in my life, and if I can pour my passion of composition into digital samples, well why the hell wouldn't I? Maybe hybridization of notation software and sequencers will someday occur, but right now they're mi... kilometers apart. I'm rambling, sorry haha. My point is, you're using a software to execute the actual "sound", the "audio", to be as perfect as possible. And, come on man. Let us be honest with each other. Your music is fantastic. I've been listening to the Rust and Bones soundtrack on repeat for, uh, a while now. It's so good. I won't share which track, but one even made me tear up. The kind where it just wells up in your eyelids, and falls down your cheek when you don't even blink to open the flood gates. Gorgeous in every way. But when you post your music with the score your DAW gives you, a lot of people here will be quick to point out flaws in it's construction. That's ok. If you're receptive to that, and you have the desire to create well crafted scores to best represent your music and showcase your intentions, well that's awesome! But if not, if I were you, I wouldn't even post it. It'd be so much work to try and fiddle with it, it's not even worth your time. Especially when there are lots of tempo changes, even subtle ones. I remember that being annoying. Instead, if you post in the incidental/soundtrack/media section of the forum, most people assume you're using the methods you use to compose and don't really question a score. Keep in mind, because of the mostly what I assume is a student/academic based vantage point of composition this site harbors, you might get requests of a score. How great for you, that your music is so interesting to them that they want to further study your craft. Yes your ears are most important, but the aid of a visual representation of what an orchestra is accomplishing at a foundational level of your music is what people can be curious about. If you value the secrecy of your sonic footprint upon our world and don't wish to share your music's notational construction, that's ok. If you're inputting notes with a midi keyboard into your software, and it sounds as beautiful as the music I hear (let's see... I'm on "Remember" now) but you can't figure out why the score it gives looks so bad, who cares. Your program isn't designed for that. If you mention in the post of your music, "This was written with *insert DAW* and don't have a score", no one will belittle you. That's the reality of great sounding music using virtual instruments. And ok I'm rambling again. My whole point stems from what you recently posted. You seemed to be really upset in your comment A YEAR after a few people gave you some great and honest feedback (as well as praise! yay!). Your piano piece sounds great! Maybe it's like a neo-classical approach to your style? You mentioned it's an old piece you found. It sounds like it probably would be, as noted with the form. Was this a study? For fun? These are things that would be interesting to know and talk about. I get that your score may not reflect your midi input. Maybe you inputted notes in a 6/8 way, but the score it gave was in 3/4. Or whatever. It's just another reason I wouldn't even bother posting it. Like I said, no one would fault you. There is plenty to comment on your music without being distracted by it 😄 I read a lot of the "feedback" you get on soundcloud. Reminds me of one of my accounts. It has pretty good attention from a band I was previously in. A lot of people say "great music" or whatever generic low effort version of that they come up with, but probably didn't even listen to the music. They're probably clout chasers, or just post to keep up appearances. Some could possibly be bots. Well, some are for sure bots because of my idiot old roommate/bass player. It's really a great way to share your music, but if you're looking for honest feedback, it kinda sucks. That's partly why I always come back to this forum; there are sometimes new faces, but always great advice. It helps to be active as well. A lot of times people are quick to offer advice or critique (maybe just a bit of praise even 🙂) if you give a bit of insight into their work. Sometimes someone's music just blows me away, and even if I feel like I can only share my admiration for their music, I like to share it. It's helped me network inadvertently too lol. ANYWAY Sorry for all the incoherent confusion my post may have spawned. To sum up, I think that your music is riveting and emotional. It's especially very colorful, you have a great sense of dynamics with the instrumentation, as well as a keen intuition for it's story telling. I'm glad I scoured your soundcloud, it was a fun ride! I think that someone with your experience and craftsmanship would do a lot of members here a great justice by giving your hard work a thorough listen. I hope more learn from and enjoy your music as much as I have within this last chunk of time.
    1 point
  30. My favourite quotes are drawn from my one true textbook "Bluff your way in Music". A few examples: Polyrhythmic: Someone who can dance a quickstep to a waltz. Tchaikovsky: He'd have been rich if films had been around in his time. Accidental: A wrong note played on purpose.
    1 point
  31. I will just list 2 for each categories haha. On music theory I love “Harmony and Voice Leading” by Aldwell very much! “Introduction to Post tonal theory” by Straus is great too. On Form I love “The Classical form” by Caplin, “Sonata Theory” by Hepokoski, On counterpoint Kennan’s is an essential read and I also like Jepessen’s book on 16th century counterpoint! For music history Taruskin’s history is so great, but I have only read the first two volumes and have the other 3 still in my cupboard…… Henry Noted. Thanks!
    1 point
  32. @Henry Ng Tsz Kiu Don’t forget scriabin’s mysterium, that would be an interesting work to listen to but sadly it never got finished. @Aw Ke Shen I didn’t know that story, it is quite beautiful and emotive.
    1 point
  33. I never care how the composers die since what matters most is how they leave their masterpieces to us! I only mourn that Bach didn't finish his Die Kunst Der Fuge, Mozart his Requiem, Beethoven his chant like works, Mahler his 10th...... For me the best composer's death would be to know that you have written great masterpieces and render yourself strive for that and utilize all of your potential.... Then you will have no regret to leave the world since yoi have fulfill your essence as a human being and composer, and this for me would be the best death for a composer! Henry
    1 point
  34. I have read only 4 here out of your list!
    1 point
  35. LoL - I looked on my secret bookshelf in my closet and I realized that I have some great musical books in there that not even *I* have read! "Musical Form and Analysis" by Spring, Hutcheson "The Development of Western Music" - A History by K. Marie Stolba "Orchestration" by Cecil Forsyth (only read fragments - quite funny!) "The Technique of Orchestration" - Sixth Edition by Kent Kennan, Donald Grantham "The Lives of the Great Composers" - Third Edition by Harold C. Schonberg "The Virtuoso Conductors" by Raymond Holden "Twentieth-Century Music" - A History of Musical Style in Modern Europe and America by Robert P. Morgan "Counterpoint" - Fourth Edition by Kent Kennan (haven't read yet) "Mozart's Letters, Mozart's Life" - Selected Letters Edited and Newly Translated by Robert Spaethling (haven't read yet) "Music in the Galant Style" by Robert Gjerdingen (which I'm still in the middle of reading) And a bonus book that isn't a theory/history text: "The Music Lesson - A Spritual Search for Growth through Music" by Victor L. Wooten Enjoy! Peter
    1 point
  36. Hi @Gabriel Carlisle, I think the Eb minor is well chosen for the intense mood with those beats beaten, but I think the brasses can be louder at the beginning. And I don’t know, maybe you can add more harmonic progressions rather than keeping the basic harmonic pattern throughout the whole track! Also I think the dynamic level can vary more and it should have some fortissimo moment! Now I feel like a little bit bored since the dynamic and harmony don’t change much even the voices are invited. I think @olivercomposer’s soundtracks are really great at depicting those epic scenes with great intensity of dynamic level and brass usage and you can check out his pieces! Henry
    1 point
  37. Hey Oliver, I like these OSTs. I like the Bad Guys (Not our famous Thatguy v.12345) track since the D minor electric guitars are real badass. Henry
    1 point
  38. Hey Pabio @Fugax Contrapunctus, This is a lovely gigue like fugue! As usual there is a far reaching point when you reach C sharp minor in b.127. The continuo is definitely a great addition to the two violins. Thx for sharing! Henry
    1 point
  39. It is ideal for an action scene, with that retro sound, the slap bass and the sound effects. Not bad al all.
    1 point
  40. Oh God, It's absolutely mesmerizing
    1 point
  41. Beautiful motet and exellent counterpoint 🙂
    1 point
  42. Hello everyone, I was really busy the past few weeks so only now I'm able to show you my new project. Estampas_de_España.pdf https://drive.google.com/drive/folders/1xnciHniD_iW3uBUrxphiy_p4QF9xaSEe?usp=drive_link (The same PDF just in case) Basically, I'm organizing a cultural project where composers from all around the globe put piano music to a selection of paintings. The best pieces will be included in a collaborative set that will be performed in the future (up to 16 pieces for the official collaborative album). The best composition will receive a 500 euros prize, the second best work will receive 200 euros prize, I will offer a few 30 euros rewards to other great pieces (up to 3 extra rewards). I hope many people will participate, see you soon! Don't forget to send me your painting choices so I can organize better (to my email ivanmusic1791@gmail.com). Here you have the drive with the paintings: https://drive.google.com/drive/folders/1rR-lpQH18sTy6qRqH2_QcR7DIMd4Z0Y8?usp=drive_link If you have any doubts contact me over email! But I will be able to reply here for a few days, but I might not check it as often.
    1 point
  43. This is lovely! The first movement gives me a quiet fantasy sort of a feel, which progresses towards (mov 2) a more sombre place, almost giving the sense that something is wrong, or something wrong is coming. The third movement has more energy and feels whimsical at some parts, and overall has a duality of something wrong/something exciting, if that makes sense (a painting with many details and lightings, possibly describing lively activity - I really don't know much about visual art). The last is one I'm not sure of, it didn't feel very connected to the rest of the piece (possibly because this is much simpler in terms of everything as compared to the first three movements) and it didn't feel like an end to me, but perhaps it was like coming back to the first movement in a major, simpler tone. Edit: Also, what software did you use for the audio? It sounds very good.
    1 point
  44. I really like the effects you achieved in the first violin part at m. 25! You seem pretty adept at playing with different textures in a string quartet setting. My one question regards the harmonics in the first violin part - are these intended to be fingered harmonics? As an amateur violinist, these would be quite difficult to perform - beautiful non the less, but tricky!
    1 point
  45. In one report I read, Beethoven is quoted as saying finally "And now my friends, the comedy ends". He had a dark sense of humour.
    1 point
  46. Beethoven died shaking his fist at thunder. Till the last moment of his life he was thus defiant, just like his music.
    1 point
  47. I nominate Arnold Schoenberg, who convinced himself into dying on a Friday the 13th, out of his own superstitions: The composer had triskaidekaphobia (the fear of the number 13), and according to friend Katia Mann, he feared he would die during a year that was a multiple of 13. He dreaded his sixty-fifth birthday in 1939 so much that a friend asked the composer and astrologer Dane Rudhyar to prepare Schoenberg's horoscope. Rudhyar did this and told Schoenberg that the year was dangerous, but not fatal. But in 1950, on his seventy-sixth birthday, an astrologer wrote Schoenberg a note warning him that the year was a critical one: 7 + 6 = 13. This stunned and depressed the composer, for up to that point he had only been wary of multiples of 13 and never considered adding the digits of his age. He died on Friday, 13 July 1951, shortly before midnight. Schoenberg had stayed in bed all day, sick, anxious and depressed. His wife Gertrud reported in a telegram to her sister-in-law Ottilie the next day that Arnold died at 11:45 pm, 15 minutes before midnight. In a letter to Ottilie dated 4 August 1951, Gertrud explained, "About a quarter to twelve I looked at the clock and said to myself: another quarter of an hour and then the worst is over. Then the doctor called me. Arnold's throat rattled twice, his heart gave a powerful beat and that was the end".
    1 point
  48. I'll admit that I don't mind Wagner. He was a control freak, and the perfectionist parts of me can appreciate that. :)
    1 point
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