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Showing content with the highest reputation since 08/25/2018 in all areas

  1. 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!
  2. 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.
  3. 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.
  4. 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!
  5. 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".
  6. 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.
  7. 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)
  8. 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!
  9. 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
  10. 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
  11. 1 point
    @Bill Jones Thanks very much! Very glad you enjoyed it. And regarding a live performance: from your mouth to God's ears!
  12. 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!
  13. 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.
  14. 1 point
    Love it, and the ending was quite fitting. The pieces has nice fluidity and the textures seem to really work. Good job!
  15. 1 point
    Yes, I think it worked pretty good as a single-movement work. I agree, even Beethoven quoted Mozart in a number of his works. I personally believe that Mozart quoted other composers too, perhaps unconsciously. For example, there is a harmonic progression in the 2nd theme of the 1st movement of his 12th Piano Sonata that reminds me of the 3rd movement of Vivaldi's Summer.
  16. 1 point
    This is a really great piece, congratulations. I think it's really hard to compose in the style of the classical period without quoting Haydn, Mozart and Beethoven.
  17. 1 point
    Nice synth, and appropriate to the visuals. Everything was centered around the same area on the keyboard - I was hoping for some more "group motion" upwards and downwards, or something to create another texture or color or feeling within the piece. Maybe cut out the low end at some point and have the high notes carry it, or vice versa, or have more motion from low to high or vice versa. It's all good, just very similar throughout! Gustav
  18. 1 point
    Mind traveling music! I like that. Thanks for the kind words.
  19. 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.
  20. 1 point
    I like what you've done here. There were a few times where it got a little harder to follow, but I think that the sort of nebulousness matches your own feelings towards your father. I hope that writing this piece of music brought you some sort of peace and perhaps closure. I think that this type of music is extremely important as it comes from a very real and raw artistic place, and is therapeutic to the artist as well as those who listen to it. Keep at it!
  21. 1 point
    WOW! You really captured the essence of an entire genre of film scoring. The "colors" of the chords you used were fantastic. I'm searching for any criticism, but I'm not finding any. Well done.
  22. 1 point
    Just by listening to the opening, I initially thought that it would be tranquil, relax-music-type throughout the piece. But it isn't I love how well-redeveloped the motive is, and the way you build up the emotions considering it is a short piece. It sounds like a couple who have been separated for a long time because of a war, but they don't have much time to share their experience as they have to leave each other again. So desperate but got relieved knowing the beloved half is still alive and safe.
  23. 1 point
    Interesting thread. @SSC, you're amazingly knowledgeable, and more importantly, you're articulate with it. I think you've helped Ali a lot here.
  24. 1 point
    A very exciting and well-composed work; the music painted a very vivid conceptualization. The textures are very fluid and organic. Nice job!
  25. 1 point
    This is a great work sculpted in this style, it's very pleasant to listen to and quite accessible; it's got all the great characteristics of enjoyable, serious, light, great music. Great job!
  26. 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
  27. 1 point
    I think the best thing you can do is think of WHY something has to be longer. Think in terms of Beethoven's economy of material, how his sonatas are mostly the same stuff repeated over and over in different ways, joined by a loose arc structure. In other words, you can make something as long as you want if you just keep repeating things in different ways. Think of how Fugues work, which is kind of a similar idea. The point is, "form" is a really complicated topic altogether and Schoenberg's entire point with his system and so on was to allow for the creation of new complex forms (like a new Sonata-type form?) using his different tonal material. It's not the form that gives something its length, it's how long you want to take with developing your own ideas. That's why even if there are many pieces that are "sonatas" and adhere to the form, that says nothing of the length itself. A good example is Symphonies, which really are "Sonatas for orchestra," they are often much longer than piano sonatas, but they have the same structural ideas. That's because the orchestra can be used to develop things as well as just the actual notes being played. Instrumentation plays a big role in structure there, hence usually longer works.
  28. 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
  29. 1 point
    I am very intrigued by this piece; while not in a style with which I am very familiar, the piece flows very nicely from idea to idea, and there is a clear and logical progression of material. I think you managed well to exploring and developing a lot of the material you present; for instance, I can very transparently follow the initial figures created by the clarinet and glockenspiel (independently, of course). The flute then introduces one of its prime figures -- i.e. the sextuplet -- and I am able to follow how it passes between the lines and transforms, as in the piano later in the piece. Ultimately, I think you did a good job creating a consistent, coherent structure by exploring the material you rendered. Good job, and good luck with the performance!
  30. 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!
  31. 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
  32. 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.
  33. 1 point
    The tonality you've chosen is fine. It has value and can be developed. But you're stretching the limit of that ostinato. So with that in mind there are many things you can do to add interest (if you don't mind a little back seat driving). First I would begin to alter it much earlier in the piece and introduce some sort of punctuation from other instruments here and there so that it can continue. Think of the punctuation as fuel. You can then invert and/or transpose the ostinato along the way. And you can pass it off to other instrumnets. Just some suggestions off the top of my head. Keep working on it. It's good.
  34. 1 point
    This is really good! I love the power and the vigor in the 1st movement! It kind of reminds me of the string quartets of early Beethoven or Haydn or Late Mozart, in terms of emotions and style. Also, you made excellent use of the unusual arrangement! I would love to hear your other quartets. Best, Theo
  35. 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.
  36. 1 point
    Why don't you stop presuming that other people don't do research? Are you the only one educated here? Well, I can't remind myself that Bach held a professor title. Yes, he was a master pedagogue, but above all he was a genius artist. And no, he wasn't a professor. Yes, the helped each other, because they knew how to do that, not because they had a degree or held a professor title. They weren't educated executors of rules. They were artists. Again: Beethoven, Mozart, Bach, Haendel and Vivaldi didn't have a degree in composition. In anything actually. This discussion is now off-topic Yes, and I have a submarine in my room. Do you have a scientific research for that claim? Why don't we know those people? If now there are millions of such people, so there had to be thousands of such people in times of Mozart. Why do we know only Mozart and Haydn and not them? As I said before, technical ability isn't enough to create good art. I think old composers deserve more respect from you. If you think that your technical skills are as good as Mozart's, then think about it: you've learnt it, they created it. Your attitude towards old masters is like attitude of a geologist towards a rock.
  37. 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.
  38. 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!
  39. 1 point
    Yeah, but those are just instincts. They don't mean anything! It's just an act of nature! That's just how we feel about it. Or at least, how most do. But how do you prove the baby is objectively more valuable than the desserts, or a falling kitten, or a plant? Show me empirical, peer-reviewed evidence that a human baby really is worth more than a tuna sandwich. You can't, because it's all just in your head! So let the babies die and grab the falling food! The only reason you might think the baby is more valuable is just because of brain chemicals! You should really sit and think about this sentence you wrote for a while, and maybe you'll come around to realizing how utterly stupid the points you're making in these threads are. If there is no greater standard to be achieved, then how can a "properly-educated" composer even exist? How can you determine what a "proper" education is? If you believe that quality is just subjective, then any kind of or no education at all are equally valid. Buddy, all of your posts here are projection. You feel this need to come into these threads and keeping asserting how "originality" and "experimentation" is so great and there is no objective higher standard because you're insecure about your own music. Which, again, I could take you maybe a bit seriously if you actually were making mind-blowing, totally different, quality music instead of living room recordings of late 90s hipster "indie" rock. It's like listening to a metal edgelord in an "...and justice for all" shirt go off about how "all that pop crap is over-produced garbage". You wouldn't seriously consider that person's opinions. You'd just be like "Yeah, ooookay man, at least I can hear the bass lol". You're really fond of the "fallacy" fallacy. Notice how you completely failed to offer an explanation as to why people prefer the works I mention? Here's an idea, since you're so into psychology, try reading this. It'll be like looking into your own soul. https://www.ncbi.nlm.nih.gov/pubmed/10626367 It's called "The Dunning-Kruger Effect"
  40. 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.
  41. 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...
  42. 1 point
    I pretty much agree with anything you said. But we still have to deal with the tabula-rasa that avant gardes made in pretty much all arts fields. They "destroyed" everything and left pretty much nothing, and This can be seen both as a luck or a catastrophe. (Exasperated subjectivism is a key that doesn't lock any door anymore. Modern audience knows that whatever kind of modern art is going to see/listen, is gonna be something ugly.) Now composers ( and artists in general have the power to create everything they want...but at the same time everything sounds so much dull...I can feel that what we really miss is our own language. Maybe everything we can do is to just pick up the pieces of language that still work, and try to put them together to create a new music "beginning" in human history
  43. 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.
  44. 1 point
    Wouldn't even call this my style but I still thoroughly enjoyed it, to my surprise.
  45. 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
  46. 1 point
    This is nice and smooth.. I really enjoy watching you guys play it too. One question - where are the smoky solo's?.... come on.. they are there somewhere waiting to be heard. What you've got now is good.
  47. 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.
  48. 1 point
    In a lot of scores, there is actually just 3 full pages of rests for those instruments that happen to not play. I know many conductors who prefer this visual score style as opposed to the alternative, where instruments that don't play are simply removed from the pages that don't include them (excluding the first page – the example below is a bad one of this). Two slashes are used to indicate a break in the system if only few enough instruments play to warrant a page break.
  49. 1 point
    There is a time-honoured tradition of this, especially in the days of court orchestras. Haydn, for example, had an orchestra of virtuosi at his disposal for Prince Esterházy's entertainment, and he often made special use of individual players' strengths, especially earlier in his career. When writing specifically for his patron the Prince, who played a bizarre, now-extinct instrument called the baryton, he was careful to give the Prince interesting things to play while staying within his limited technical abilities. When he went to London, he was also well aware of the fine orchestra he was going to be writing for, and his final 12 symphonies show it. When writing for a specific ensemble, I almost always take into consideration what I know to be their strengths, and almost more importantly, their weaknesses. For example, when writing my Missa Brevis 4 vocibus (posted here), the commissioner advised me that his soprano section wasn't really capable of singing above F at the top of the treble staff, hence I only once wrote a G for them (having no other choice in that spot), but otherwise kept the range of the soprano part capped at F. Though it was limiting, had I not done so, it would have caused problems for the very people who were paying me for the composition. However, he had a stellar tenor section, including himself (and I knew his fine voice well), so I several times took the tenors up to A above the staff, and they performed admirably. When not writing with a specific ensemble in mind, I'm freer with my expression, though I still usually take into consideration the technical abilities of the typical professional musician, unless I am writing something like a concerto, in which case the solo part is written with virtuosi in mind and is considerably more difficult.
  50. 1 point
    @Theodore Servin Where has Chesnokov been all my life? Wonderful piece, and I do very much enjoy Russian liturgical music. I presume you must have heard Rachmaninov's "All-Night Vigil" or "Vespers" from 1915...one of the last great masterworks of Russian liturgical music before the Revolution put an end to it all. I enjoyed the Kuula too, with all that delicious chromaticism and the parallel major thirds in a minor mode. He reminded me of Grieg in spots, but his is certainly a very unique voice. I wonder how many other Finnish composers there are from this period that don't get their due. Sibelius doesn't seem to leave room for them.
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