Jump to content

Leaderboard


Popular Content

Showing content with the highest reputation since 01/22/2019 in all areas

  1. 2 points
    Hi guys. Here's a little ditty that's been nagging me for some time, I intend to integrate it into a larger piano/orchestral work later (Rhapsody 2). Hope it makes you smile. Cheers, Mike.
  2. 2 points
    Hello, everyone. It's been a while since I last posted anything, and I finally have a new piece for you all to listen to: the Fantasia in F-sharp minor. I consider this piece to be my most ambitious work for piano, and also my most personal work. It is also my now-longest composition, lasting roughly 32 minutes in length. The Fantasia is in 3 movements: Movement 1. - Ballade: Moderato serioso (F-sharp minor) Movement 2. - Barcarolle: Andante (F-sharp major) Movement 3. - Finale - Tempest: Moderato - Allegro appassionato - Maestoso (F-sharp minor-major) Here are my performances of the movements on Youtube: I hope you all enjoy. 🙂 Theo
  3. 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)
  4. 2 points
    So a year ago, I had this idea of composing a suite that would represent different types of weather. I would call this suite Weather Music. But it wasn't until a few days ago that I actually started composing part of the suite. What part did I start composing you might ask? Well, I started composing probably the most intense part of the suite. That's right, I composed the part of the suite that is supposed to represent a storm. I am like exactly a quarter of the way through finishing the piece. But before I even started composing it, I was like: Full orchestra example: Beethoven here is really getting across the feel of a thunderstorm and the calm after the storm with the orchestra here. String orchestra example: Probably the most well known example of a storm represented in music. So well known, that it itself is often called Storm when played without the preceding 2 movements of Summer. There is no calm ending to the music at all. Piano example: Not directly a piece representing a storm unlike the previous 2 but it could very well be interpreted as stormy music because of the tempo and all the octaves. So I had a lot of pieces to go on as to how to get the feeling of a storm across. The only real questions were what key to have the piece in and what to compose the piece for. I eventually decided on piano solo because that is my area of expertise. I mean I am a very advanced pianist and I started composing in my intermediate years, mainly piano works. So it makes sense that composing for piano would be a natural thing for me because I know my abilities and limitations as a pianist. I don't directly know those same things for flute, violin, or any other instrument the way that I do for piano. The only way I know these things for other instruments is by studying the instruments and pieces written for those instruments. This is how come I know that out of all the possible piano-not piano duets that exist, the most balanced is the cello-piano duet. This is how come I know that a forte dynamic in the first octave is impossible on the flute. It has to do with pieces that I have listened to that are written for those instruments and other ways that I study the instruments. But no matter how good I get at say writing for flute, my piano composition skill is likely to always be superior because I get that skill directly from my knowledge of music notation, music theory, and 10 years of experience playing the piano, no studying piano pieces out of context of playing them required at all. Plus I have several other non-piano works that I am working on(namely my first symphony which might take me a year just to get the piano draft of it finished but that's okay) Anyway, back to my storm piece. That was quite the digression there but I just felt like I had to get it out. I decided to have it in the key of C minor because it is very easy for me to improvise in the key of C minor and simultaneously get it to sound very expressive. It is almost impossible for me to do that same thing for C major(which is partly why I mostly avoid composing in C major). And stormy is 1 feeling that is very natural to the key of C minor. In fact, just about any emotion that you can get out of a key is a natural emotion in C minor under certain conditions. Even happiness is a natural emotion for C minor. How I'm getting across the feeling of a storm So 1 thing that I noticed in common in nearly all pieces of music that I would consider to have a stormy character was octaves. But not just any old octaves. No, the octaves I noticed in stormy music were very fast and they were alternating. Very commonly, I would notice that almost the entire bass line is in octaves(as is the case with the Beethoven examples) or otherwise as in the Vivaldi example, the repeated notes in the bass would get across the same feel as octaves would and the octaves only really exist if you combine the bass and alto lines. So naturally, I took these octaves and applied them to the left hand part of my piece and the only time these octaves would be slow was in chords. Even when I state the Fate Motif, it isn't slow, despite being a rhythmic augmentation of the original motif just because of the fast tempo. I so far have done all these things to get across the feel of a storm: Keep up the momentum of the 16th notes except in certain spots to make the entire piece sound dramatic Use a minor key because the same drama would be hard to get across in a major key, even taking everything else into consideration Use scalar passages with unpredictable leaps to represent the strong wind by giving a chaotic feel to what would otherwise be a normal scale. Use diminished 7ths more often than dominant 7ths just to add more drama Use the Fate Motif as a bass line during some of the scalar passages to represent the lightning flash. Use chord progressions to represent the thunder that comes after the lightning(this is what I mean when I say that the octaves are slow in chords) Have the melody in the right hand outside of scalar passages be staccato to represent the rainfall Under the staccato melody, use fast octaves to give a sense of turbulence, which is very fitting for a storm Use stark dynamic contrast between passages representing thunder and lightning and passages representing rain Creschendo to a loud dynamic Suddenly get quieter Presto tempo(mine is actually on the slow end of Presto, at 160 BPM) Here is the piece as it is so far. Sound ends at about 1:25 in the MP3 just so you know. Does it sound stormy to you with all the octaves, 16th notes, and the Presto tempo?
  5. 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!
  6. 2 points
  7. 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.
  8. 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.
  9. 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!
  10. 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".
  11. 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.
  12. 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
  13. 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.
  14. 1 point
  15. 1 point
    Enjoyed this alot! It's not my 'scene' so all the more impressive that it worked for me so well
  16. 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
  17. 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:
  18. 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!
  19. 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!
  20. 1 point
    This is great stuff! As a huge fan of classic Hollywood scores, I'd love to hear this and other works of yours played by live ensembles.
  21. 1 point
    Mind traveling music! I like that. Thanks for the kind words.
  22. 1 point
    Nice choice of harmonies/scales/modes! I'm not sure I follow where the melody is, though. I understand the repetition of tri-tones as an idea, but I never picked up on a clear intervallic or rhythmic motif otherwise. The closest I felt to hearing something like that was around 1:50. Keep working! 🙂 Gustav
  23. 1 point
    Thank you very much, @J. Lee Graham! I'm very happy that you enjoyed my piece and playing! I, too, am one of those who think that keys have personalities. I think that each key has its own emotions that are intertwined within its scale, even if all major and minor scales follow the same patterns. And I agree with your sentiments of E-flat minor: your description is apt for that key. At the time of writing this piece, I wanted to try writing in keys that aren't commonly written for, in this case, E-flat minor. Yes, indeed, Rachmaninoff was a major influence on this piece. Rachmaninoff is one of my heroes in music, and this was becoming apparent around the time of composing this piece. Again, thank you for your compliments and appreciation. It means a lot to me. All the best, Theo
  24. 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!
  25. 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
  26. 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!
  27. 1 point
    @Theodore Servin Thanks so much! Yes, that opening movement is very vigourous - the last movement too, actually, though maybe a little lighter touch. I'm honoured that you compare me to Mozart, Haydn, and Beethoven in any sense, so thanks again, and I'm really glad you thought the ensemble worked well. I may indeed post some of the others in the set.
  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
    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.
  30. 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.
  31. 1 point
    @sshn I see what you’re talking about. In the “Sicut locutus est” example you cite, Bach has chosen to force a kind of tonal answer (where a degree of the scale is altered) because it works well for what he was trying to do, I believe. As I understand it, tonal answers are only mandatory (if that’s even the right word to use) when the fifth degree of the scale is present near the beginning of a subject; for example, if the subject (in C major) is C G E C, then the answer would be G C B G, rather than G D B G. Does that make sense? Otherwise, I believe tonal answers are discretionary. Tonal answers and the rules governing them are the source of a lot of confusion. In the Fugue Crash Course I wrote and posted here many years ago (on the unlikely but very familiar subject Ah! vous dirai-je, maman, or “Twinkle, twinkle Little Star”), ideally, I should have done a tonal answer since there is blatantly a fifth degree of the scale near the beginning of the subject; but my purpose was to illustrate the basics of fugue writing, so I left the subject alone so as not to cause a lot of confusion. I may rewrite the exposition with a tonal answer someday though, just to be correct. In the case of your subject, I don’t immediately see that you have any choice but to write a codetta to modulate back to the tonic in the answer. I’m almost certain you don’t have to write a tonal answer, and It seems to me that a forced tonal answer would adversely affect the integrity of the subject in this case. Just my opinion, but that’s how it looks to me. Let me know if you have any questions, and by all means, if anybody else has a different understanding on the practice of tonal answers, let it be known!
  32. 1 point
    Cool then, show me, with scientific peer-reviewed literature, that "some works are really better than others." Make an actual argument based on scientific sources. That's what I expect from such a categorical claim, since it's a pretty big thing to claim as being "the truth." I think it's pretty cute you're trying to play me as a postmodern pushover, but no, on quite the contrary, I do value objective empirical evidence for things quite a lot. In fact, I value it so much that I try to keep up with the science literature on the things I want to know about. (I even posted some of it to the forum since I actually want people to read and inform themselves so they can properly argue things, it's more fun that way!) That being said, not everything can be entirely objective, which apparently is a problem to you for some mysterious reason. Argumentum ad populum. I mean, really now? That's almost highschool grade stuff. I think it's pretty hilarious you're trying to "get at me" by trash talking my music, you're going to have to do much worse than that. It's also really cute how you're like "Man I don't want to do this but you forced my hand!!!" oh please, that's really childish. You could've as well said I'm a talentless hack or an idiot or whatever other standard insults and it would've saved you the time and effort to actually listen to my music! That being said, thanks for listening and giving some feedback, I guess. In some unintentional way you actually did something nicer than you intended, which is also pretty funny. This is actually kind of amusing, if you want to keep going I'm all game. I'm also not from Germany and German is my 4th language, but hey that's neither here nor there. The glass houses quote is neat, specially since I don't live in a glass house, I live in a goddamn volcano lair for all you're concerned. Try harder, seriously. You gotta do much better than this.
  33. 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...
  34. 1 point
    Hi DFox - This is quite nice. and WELCOME.. I usually don't come to this section of site. I hang out it 'rock, pop' section.. Don't be discouraged if you don't get too many replies (or any). I don't know younger folks just don't have the manners the previous generation had. The Indigo Dream has love, attention to detail, and heart in it. I get that. Nice transitions to different sections, motifs. very smooth. Don't think it matters if you post here or link to soundcloud.. cause quite a few folks do link.. I was drawn to this, cause I wrote a piece a couple years back called 'Shades of Indigo'. Indigo is an intriguing word and color. Keep up the good work. Mark Styles
  35. 1 point
    You embody the exact kind of neurosis, materialism and projection that I, Monarcheon, and the OP have all referred to. Just because you cannot recognize or do not want to put in the effort to live up to a standard of quality does not make whatever you want to substitute it with just as good. "Different" doesn't matter when different sucks compared to the standard. This Is not simply a "discount version" of this Rather, they are both works of a similarly high standard. And while this May be "different", it is definitely not as good, and the sculptor nowhere near as skilled as the previous examples.
  36. 1 point
    Hi Muhammadreza - The real meat of the piece is the guitar ambient field. To me the cymbals are too steady.. Perhaps some cymbal rolls/builds up, or exotic percussion sounds would lend itself better. I really LOVE the guitar sound. and the you have something going on with the tuning, there very interesting
  37. 1 point
    I would praise Moritz Moszkowski too Moritz (Maurice) Moszkows (1854 - 1925) was a German composer, pianist, and teacher of Polish-Jewish descent. I particularly like his Piano Concerto No.1, because of both the breathtaking melodies and well-balanced arrangement. Although I am not a pianist. but I can see his works are great for pianist to show off. Also: Ernest Chausson (1855-1899) was a French romantic composer. His wrote a few orchestral pieces, concerti as well as ensemble works. Personally, Poème for violin and orchestra is very nice.
  38. 1 point
    Thank you responding, @J. Lee Graham! I suppose I should give some introductions to my list, as you have done with yours. Viktor Kosenko (1893-1938) was a Russian-born Ukrainian-Soviet composer and pianist. He wrote for almost every genre of music, including concertos and piano music. He is probably best known for his Passacaglia in G minor for piano, a magnificent work of epic proportions. Even though he was around during the Soviet era, he mostly wrote in a late-romantic manner. It's wonderful stuff to listen to. Toivo Kuula (1883-1918) was a Finnish composer. He wrote mostly songs and chamber music, and has an unfinished Stabat Mater. Personally, I love his massive Piano Trio in A major, particularly the 3rd movement. It's some very emotional and passionate music. Unfortunately, he was killed at age 34 from a scuffle with a drunken soldier at the end of the Finnish Civil War, from a gunshot wound to the head. Wilhelm Reinhard Berger (1861-1911) was a German composer, pianist and conductor. He was a very prolific composer, have completed over 100 opuses, although much of it remains unperformed. I consider his Piano Quintet in F minor to be among the best piano quintets ever written, and, like Kuula's Piano Trio, is a huge work, lasting roughly 50 minutes. A criminally underrated genius, in my opinion. Giuseppe Martucci (1856-1909) was an Italian composer, pianist, and conductor. He was the first Italian composer in decades (if not centuries) to not write an opera. His output includes 2 symphonies and piano concertos, and much chamber and piano music. It's very sophisticated music, and is definitely worth checking out. Vasily Kalinnikov (1866-1901) was a Russian composer. His life was a tragic one, to say the least, having been impoverished most of his life, and dying at aged 34 from tuberculosis. Probably his best known works are his 2 symphonies, both of a fresh and magical quality, with touches of Russian nationalism incorporated in the music. Wladyslaw Zelenski (1837-1921) was a Polish composer, pianist and organist. If at all, he is probably best known for his chamber music, including his Piano Quartet in C minor, an excellent work, that I would highly recommend to any chamber music-lover.
  39. 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
  40. 1 point
    Interesting. I'm often sceptical of such studies as my first question is what they seek to achieve in practical terms. Some application is fairly obvious but trying to understand the perception of music is always going to be fraught with problems. Whether you attempt analysis with scientific method or the softer approach of semiotics you hit problems straight away as you're dealing with individuals. And if there's one thing that psychology can't get at it's an individual's raw data, having to rely on anecdote and social norms and things. Even phsyiological psychology still has to treat the individual as a "black box". I did read the papers and had comments on both which would take rather a lot of space to list. #1 raised more questions than answers: narrow, relying on music attempting to communicate emotions (and fairly basic emotions at that) - not all music aims to communicate emotion. It speaks of universality but I think we already knew of that. An aficionado of Far Eastern or African music will be well aware of these regions incorporating western styles particularly in popular music. It probably appeared in the Far East thanks to interest in "classical music" (particularly Japan but also Hong Kong) brought in a century ago when these countries opened up to the west. In Africa probably through colonisation. Japan created westernised orchestras across the last century, sent its music students to Germany, France, the UK and the States. [Edit]My far and away favourite Bruckner conductor was Japanese (alas now deceased). The second paper interested me in that it extended questions raised in Die Reihe, a series of periodicals from the 1950s but addressed more by musicians than scientists but who were nonetheless engaged in all aspects of the avant garde. Even so, Eimert did an excellent piece in Vol 6 Sprache und Musik, about information theory and communication - bordering on what became semiotics. It's the source of my interest in semiotics. However, semiotic research re music is probably wasted effort. Although music does contain quasi-linguistic elements they're too vague and the cultural/philosophical pressures external to the music itself are in themselves complex. So trying to relate sign to signified will never be more than hypothesis. More in the line of philosophy and what reality is about? I noticed both papers emanated from Germany. What we need now is research into whether and how symbolist music communicates a mood/picture. Does that have universality? An interesting topic.
  41. 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.
  42. 1 point
    Two lovely pieces! Ländler in D : You definitely capture an elegant spirit and the melodies flow well. I could imagine dancers easily! I think this one is a better Ländler. Ländler in G : The 1st theme is very nice but seems less danceable than the former. That said, it is more musically substantial and has greater potential concert value. From both of them, I can see your knowledge about dance music and the spirit behind the Ländler. I think they would be better if I was to see dancers, but you've done a nice job!
  43. 1 point
    Agreed, a pleasant piece, easy to listen to and on the pastorale side. What's it scored for? The harp is nicely represented.
  44. 1 point
    I've posted these before but I though I'd share it again as I made some minor edits since it was last posted on some of them. This is a set of six pieces dedicated to my daughter that I wrote around the time she was born four years ago. The keys of the pieces (loosely) spell out her name. They have a pretty large range in terms of difficulty since I initially set out to write short simple pieces suitable for an intermediate level piano student but over time, they evolved to become more thematic in nature loosely depicting a childhood scene. Here's brief description of each one: No. 1 in C major - A simple sonatina movement, perhaps depicting a child's first steps on their own. No. 2 in A major - A waltz-like piece, perhaps hinting at a young child dancing with her doll (my daughter loves to dance). No. 3 in B-flat major - A fast scherzo somewhat capturing the happy chaos of young children playing together. No. 4 in B minor - A hybrid rondo-variation form. The A theme is supposed to depict the child in various moods over the course of the day as he spends the day with his mother, starting off a little grumpy when he wakes up and ending quietly as he is put to bed. No. 5 in E minor - A set of simple variations on "Twinkle, Twinkle, Little Star" which used to be my daughter's favorite song as a toddler. Not surprisingly this is her favorite one. No. 6 in G major - A march celebrating the transition from childhood to young adulthood.
  45. 1 point
    Great piece. Love the colors and harmonies. Look forward to hearing your next one 🙂
  46. 1 point
    Hi @Seni-G... thats not a simple music, i think i might call it a music project. Or mind travelling music !!! Good work!
  47. 1 point
    To be able to overcome a form, you must first know how to create it. This was what the great Argol Schonberg was saying. You first learn to build a simple classic sonata and then you are ready to fly away from it.
  48. 1 point
    Thanks for taking the time to listen, Willibald - I'm glad you enjoyed it. Regarding the composer competition, I certainly agree with you. I've seldom found much enjoyment in listening to mid to late 20th-century art music. The peculiar thing is that the general market is not actually especially interested in academic music. There's interest among performers and composers, but the vast majority of concert-goers would prefer listening to a Brahms, Bach, or Mozart over a Boulez, Babbitt, or Cage, for instance. Modern composers are often quite removed from this market, partly because it is incredibly difficult to gain a foothold against the established repertoire, and partly because there simply isn't enough demand for classical music to allow most composers to make a living of it. Thus, they pursue it as a hobby in the way that Ives did, while earning their living doing something else. I think what's really at play here is that most post-secondary composition instructors of the past couple of generations grew up in the academic climate of the 50s through 70s - an era that was marked by a striking intolerance for utilizing stylistic elements from past eras in an effort to advance music in the same way that all other fields were advancing - and they push their students to continue this tradition. Most composers are intelligent people, and they pride themselves on this intelligence. They do not want to be regarded as unoriginal, nor as individuals incapable of handling the complexities of highly advanced modern music. Those who did dare write more traditional music (Barber, for instance) often received scathing criticism from the proponents of the new style, and students who were not lucky enough to have an open-minded professor at school were likewise scolded for their lack of originality. This peer pressure can be extremely persuasive, and in my opinion is the primary reason that avant garde styles came to dominate the art music world. Unfortunately, this played a significant role in killing off demand for serious art music (which was seen as necessary by many of the chief proponents of the avant garde movement). The effects are still very much present to this day. A few years ago when I was checking in here more regularly, I remember seeing numerous examples of composers in this forum posting nicely written music in traditional styles who were admonished that they should be "finding a fresh, original voice" rather than imitating styles of the past. Invariably, these detractors were modernists, and ironically, their music was seldom any more creative or original than the composers they scorned - they were just imitating a somewhat more recent style of music. The idea they persisted in advancing - that one MUST employ the tools of the modern era in order for his or her music to be relevant to the modern era - always struck me as deeply flawed. If older musical styles are no longer relevant, why do we still listen to and adore them? Why are they still, to this day, more popular among the concert-going public than modern art music styles? The argument only makes sense if one feels that the primary purpose of music is to advance and evolve. All that said, it also makes no sense to me that anyone would claim the world would be better off had avant garde music never been explored. There are some musicians who genuinely believe that this is the most beautiful and expressive music in the world, and they should not be scorned for it. There are also many who find a real sense of fascination and intellectual fulfillment in the process of writing in serialist, aleatoric, and other avant garde styles. I actually think that for many of them, that is of much more importance and relevance than the resulting sound. And there can be no denying that such music is a greater communicator of certain emotions than the tonal system could be. I suppose, in a nutshell, that I wish people would stop trying to pressure each other into writing in their own preferred style. Write what you enjoy - not what you're told you should write. Unless, of course, you make a living writing music for other people, in which case what you write should probably be something they want to hear. :-)
  49. 1 point
    III. Great. Notational errors aside (which I would strongly recommend fixing) and a couple inconsistencies (i.e. why doesn't the first measure use the whole note like the rest of the piece), the ending was the only thing that threw me. While I do understand and like the effect of getting progressively emptier as time goes on, I think it might have been a little too abrupt with the truncation of the left hand motive. I'm not entirely sure. IV. I like this one too. Kind of an interesting Japanese feeling with the use of the majority of the Insen scale (minus the minor 7th), but it works nicely here. Notational issues are kind of a thing and I would look into rest beaming or crossed staff notation to alleviate some of the difficult rest reading. The part with the trill at the bottom was the weakest for me. The attention to detail of the rhythm, which was arguably the most important thing in this particular piece, was a little bit lacking, relatively speaking. Overall, it was enjoyable.
  50. 1 point
    Well, see, the Ode to Joy theme, slightly altered, is actually one of the fugue subjects in a double fugue that appears toward the end of the movement, so it is absolutely not the type of melody composed by a kid who's starting out at piano lessons, but the type of melody carefully crafted by a master composer. https://youtu.be/XFRfzCiVx_Y?t=962 (16:03) Look harder https://www.youtube.com/watch?v=KVqlIjwP1l8 https://www.youtube.com/watch?v=8QT7ITv9Ecs https://www.youtube.com/watch?v=75x6DncZDgI That's strange, considering his reputation as a master contrapuntalist and harmonist. https://www.youtube.com/watch?v=1EIE78D0m1g Then I would say you have "Unfinished" business: https://www.youtube.com/watch?v=0mnrHf7p0jM
×
×
  • Create New...