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Ken320

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Ken320 last won the day on February 10

Ken320 had the most liked content!

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About Ken320

  • Rank
    Seasoned Composer

Contact Methods

  • Skype
    Mr.Ken.Nickels

Profile Information

  • Biography
    I studied percussion, piano and music composition at Roosevelt University in Chicago, where I got my B.A. I have played professionally with ensembles, mostly popular music, in both Chicago and New York. Later I got involved with microprocessors and telecommunications in Wall Street, then relational database design and back end web support. I enjoy composing more than anything else, recording and learning new possibilities, keeping up with fantastic new music technologies.
  • Gender
    Male
  • Interests
    Photography, reading, traveling, conversing about The Universe and the big old world around us..
  • Favorite Composers
    At this point I have no favorites anymore. Although I never tire of baroque and good popular music. I also enjoy many modern film composers, and cinema.
  • My Compositional Styles
    Improvisational, cinematic, experimental, methodical. genre-blending.
  • Notation Software/Sequencers
    Sibelius 7, MOTU 9.51
  • Instruments Played
    Piano and Synthesizers

Recent Profile Visitors

6,350 profile views
  1. Rick Beato analyzes the opening sequence of The Shawshank Redemption, music by Thomas Newman. Rick is one of the best youtube sources for learning music theory.
  2. Sicut Cervus

    It’s a very nice piece to listen to. You have a fine counterpoint going here with a lot of motion in the lines. The piano part is fine, but here are a couple of nitpicking suggestions if you like. You might have used half notes instead of tied quarters, the rhythm is very easy to follow. And in b51 make the last G a separate voice (see pic). My only real suggestion is in b30 and one other place. The F#-G movement in the alto just sounds un-melodic to my ear. Have you tried replacing the F# with an A or D or even just repeat the G, that might be best. This will sound great in your choir!
  3. Bushido

    The horns and strings sound great together. Starting with low strings then moving up the register, it builds nicely. In spite of the inherent cliché of the chord progression you made good use of suspensions, some temporary dissonances and generally good voicing throughout.
  4. Overture in A Minor

    I don't hear any difference. But then I don't know what I should be listening for. Maybe you could point out some places where it's different?
  5. CMV: Music is intrinsically worthless.

    I have read the T. S. Elliot piece again and while still a fascinating read, it is a Mobius Strip written on the subject of Mobius Strips. It is full of contradictions, which are intentional, of course. But it never comes to a satisfying conclusion. How could it? I would stay away from it. It’s neither a guide book nor a treatise. If someone wants to write music, the last thing they should do is read a book. The connection between two people that are involved in the expression of art are intrinsically fallible. Yet people are drawn to express themselves because of this very weakness. But you - if I understand you correctly - want to stop creating because of this limitation? Are you really serious? You have set a benchmark of 100% for the successful transmission of an emotion. AND you want to be the final arbiter of its success. Or else. This is arbitrary and irrational. It just doesn't work that way. Your standards are too high. You expect steel to bend in your hands as if it was plastic. So, somewhere between 0 and 100% success rate is your problem. I am puzzled by this ‘doubt’ which sounds like a needless burden. So I don’t think I can help you, except to say, Why not adjust down a bit? And don’t overthink it. Try to see the weakness in artistic expression as a gift.
  6. CMV: Music is intrinsically worthless.

    I may be able to add something to your understanding here. I remember this essay from English Lit. (I was an English Major in addition to music). I even gave a presentation on it using the board to illustrate the concept of how a catalyst works for creating art and communicating about it. I think. It's been a while and I'll have to consult my notes on this, if I've kept them. In any case, give me some time and I'll get back to you. Maybe I can change your view.
  7. Angler Fish

    Soft Machine.
  8. Street Of Crocodiles

    Brian, I appreciate very much that you took the time to listen to the original score! Mine is more tightly coupled to the action, and maybe that’s more frightening to you, with the modern sustained strings and so on. It could be as simple as that. But there is never a horror payoff. Nothing bad ever happens. Only more inexplicable minutiae. They could be insects in an insect world. How do you score that? I just focus on the visuals. I don’t overthink it. But I am especially happy with the last scene, where I give the puppets a little more symmetry than the filmmakers envisioned - with a final music more human than what precedes it. It was a very rewarding exercise.
  9. Overture in A Minor

    Hi, this is a rousing work with a Beethoven sound. Bold statements and drama, etc.The theme is good but could be better. I did hear it throughout and it was very well placed. But I didn't hear the kind of development I would have liked. And I think the reason is the repeated notes in the theme. After a point they become sorted of wasted possibilities because they don't move the action forward. Had you ever considered giving the fourth beat of the theme more to do in terms of pitch, and then giving the repeated notes, if you still need them, to a subservient voice? It would open up a lot more possibilities. Btw, have you played this for anyone else, like a teacher?
  10. Wistful. Yes. To be a ghost is the saddest thing in the world (or the next world).
  11. Sonatina for two guitars

    The audio was fine, I could hear all the lines clearly. This piece has a lot going for it in terms of the interplay between the two guitars and the propulsive rhythms throughout.. I thought it worked best when the melodies were recognized as such, as in, in a key, in a scale. And not so much when there seemed no rhyme or reason for them, made worse by the accompaniments that seemed arbitrary in their dissonances. At some points - you didn't post the score so I can't say just where - it felt out of control, as if you were trying to see how "off" you could make it. I love dissonances, but they have to make sense. And it was hit or miss, the music flew by so fast. Also hit and miss were the quick juxtapositions of fast slow fast, etc. Sometimes they were effective, other times schizophrenic. Given all this, it falls more in line with a suite than a Sonatina. And you could improve it with some judicious editing, even the omission of entire sections. It's a little too long in general. You flirted with some Latin melodies. But you stopped yourself. Why? Those were great. I think it's better to be on the side of restraint than with some of the excesses here. Finally, remember it's only one piece. You don't have to throw in the kitchen sink. Your audience will appreciate that. Best of luck with your music!
  12. It's feverish in its intensity, which is always a good thing, part of your style I think, what I've heard so far. Have you ever posted an adagio here? Ha ha!
  13. i hope this works. it's a link to my Facebook page of the animated film by the Quay Brothers called, Street Of Crocodiles. I replaced the original score and all audio with my own. It may be in violation of copyright so I will be taking it down within the week just in case. Edit: It didn't work. Sorry. Administrators, please delete. Thanks. Trying it again. Here's hoping ...
  14. Luis, thanks for taking the time to listen to the music. I always appreciate your observations. The player that comes with YC tells you the length, does it not? I suspect that people will listen as long as the music holds their interest, and no more. I sympathize with your desire to hear a more striking and original tonality! But the songs are essentially melodic and singable. And not written for the “trained voice.” I wouldn’t know how to get the emotion I’m after using modern - or clever - tonality. Maybe a better composer would. In this case, the tonality is familiar and even includes clichès here and there for dramatic purposes. I was aiming for a larger audience perhaps? And again I am sorry that you could not hear it as intended. And to all YC’s … do not feel intimidated to share your opinions if you feel obliged to be scholarly but are not. Just be honest and there’s no such thing as a bad critique.
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