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Michael Armstrong

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About Michael Armstrong

  • Rank
    Advanced Member
  • Birthday 11/14/1992

Profile Information

  • Gender
    Male
  • Location
    Tempe, Az
  • Occupation
    Music Student
  • Interests
    Composing, Debating, Philosophy
  • Favorite Composers
    John Williams, Beethoven, Tchaikovsky, J.S. Bach, C.P.E. Bach, Eric Whitacre
  • My Compositional Styles
    Still Figuring That Out
  • Notation Software/Sequencers
    REAPER, Sibelius 7
  • Instruments Played
    Guitar (Classical, Jazz, & Pop), Bass, Percussion, Flute, Voice (Tenor), Piano (Badly)

Recent Profile Visitors

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  1. 2014 Summer Competition

    I'll join the competition!
  2. So, when I first started theory I was told that retrograde (movement from a dominant function chord to a pre-dominant function chord) was strictly forbidden in common practice harmony. However, while working through Hindemith's "Traditional Harmony" I found that several of Hindemith's prescribed progressions in the exercises have retrograde progressions. So, is retrograde strictly forbidden? Are there exceptions? Am I just stupid? Discuss.
  3. Call For Scores: Horn And Percussion Duet

    I have no idea why this posted as a guest. I am the one who started this thread. Any questions about the competition can be posted here or sent to me in a message and I will respond to the question(s) as soon as possible.
  4. Developing ideas. I tend to quickly move from one idea to another in a piece instead of creating an entire piece out of two or three ideas like I should. This leads to my pieces being shorter and feeling rushed.
  5. Theme And Variations Piano Composition Contest

    I'm in. I've been meaning to work on a theme and variation anyways. :)
  6. Results: May-June Competition, 2013

    To the judges who question why my piece was in 4/4: Because when I first started the piece the plan was to have a contrasting section that emphasized the 4/4 with regular, duple eighth-notes. However, as I composed the piece I didn't find any parts were that really seemed to work. I will probably revise this piece and add a duple section to both make the piece longer and make it more interesting. I do think, however, think that the triplets would be less tiring to the ear with a real performer interpreting. As for the lack of breath marks, I believed that the phrase markings were sufficient, as a player would usually take a breath at the end of a phrase. However, I believe all of the scores were plenty fair, and would like to especially thank Antonio Capela for his very positive review. Congratulations to the winners!
  7. Who In Your Opinion Is The Greatest Living Composer?

    Oh hey, someone finally said it, so it is safe to say. I am going with Whitacre for best CHORAL composer alive. I know that he is a one-trick pony, but boy is he good at that trick.
  8. Participants: July-August Competition, 2013

    I will participate in this competition.
  9. Discussion: July-August Competition, 2013

    Some don't have a choice. This is a YOUNG composers forum. Some people here are in high school, or are still dependent on their home community in some way. Not everyone just has the resources to pack up and move to the big city. I am not advising that people don't network, I am just advising that we don't make the competitions off-limits to the younger composers with less resources. EDIT: Just saw TJS' post above mine. So, this point is moot now. :)
  10. Discussion: July-August Competition, 2013

    I really have to disagree with you. I don't think you understand that there are composers who are 90 minutes away from the nearest classical musician. Your opinion IS true if you are willing to accept a composition for country/rockabilly band, or indie-punk band, or jazz trumpet and metal drumset. However, you aren't, and this forum is not, and you no it, and there is nothing wrong with that. But you, and other people here, need to realize that not everyone has a network of musicians to work with. I, for one, live in a small rural town of ~15,000 people where I am THE only composer, period. There is no classical music here. There are no performers here. There is nothing. No solo guitar, no solo piano, no string quartets, no woodwind ensembles. There is nothing. Understand that these places DO actually exist and that is why you should always accept synthesized versions for these competitions unless the PRIMARY purpose of the competition is to network, which is not the purpose of this competition.
  11. Parts For Works For Piano + Solo Instrument(S)

    Thank you! :) That all makes sense. I would like both of your guys' posts, but an error keeps occurring.
  12. For works for a piano plus another instrument, such as a violin or cello sonata/trio, do you usually give each individual player parts, or do you give them the full score so that they can see what each player is doing?
  13. Entries: May–June Competition, 2013

    Here is my entry: http://www.youngcomposers.com/music/4837/the-first-face/
  14. Modal Harmony

    So, where did this whole "pop is tonal" thing come from? As someone who wasn't exposed to classical music until I was in college and instead listened to a lot of pop (in the broad sense) I find myself much better apt at identifying and writing in modes rather than in the tonal system. Now, maybe some of the very, very popular pop music is tonal in some sense, but a large portion of it is also very modal. This is especially true in guitar-based pop, due to guitar's natural affinity for the Phrygian, Aeolian, and the Lydian modes. So, why do so many classical musicians claim that pop is, as a rule, tonal?
  15. How Finicky Do You Get With Your Markings?

    Just a final reply to Cadenza and .fseventsd: No, I do not want music to return to how it was in the 19th and 18th centuries. Nowhere in my posts did I say that. At all. Yes, all of those movements have influenced new musicians, but very few are making a significant impact on our culture. Most are writing music that is performed once, usually in an academic setting, and then never heard again outside of that academic setting. Also, Cadenza, how can you say that installation and program music aren't art music? YOU are the one who is confused. Something can be art music without being absolute music. Is opera not art music? Is Tchaikovsky's Romeo and Juliet not art music? No, it IS art music. It is not, however, absolute music. Also, my views of music's worth is not in mainstream integration. Bach's music was good. It was always good. During his life it was never integrated into the mainstream. And nowhere did I say that any movement was, in and of itself, bad. Only that these movements failed to become significant. Yes, some did change how we view music. But the music itself did not do that. The theory behind it did. The music never succeeded outside of academia. You assume that, because I believe that music should be pleasant to listen to, that I believe that all non-tonal music is bad. That simply is not true. I simply do not agree with how anyone who writes in these modern movements is given a free pass to write music that sounds BAD. Not that those movements cannot have good music, but the composers use the movements as excuses to not have to work harder to write things that sound pleasing to the ear in the name of "experimentation. I won't respond anymore, however, as this is not the point of this thread.
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