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Marc Deflin

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About Marc Deflin

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  • Location
    Paris, France
  • Notation Software/Sequencers
    Finale, Reaper
  • Instruments Played
    Guitar (flamenco mostly), flute

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  1. Marc Deflin

    Study for recorder and cello

    Hi all πŸ™‚ Just wanted to give it a try to a duet between a recorder and a cello... Here it is ☺️
  2. Marc Deflin

    Study for string quartet #2 in D Major

    Hi Monarcheon, Well I must admit I guess I don't understand properly everything that you say πŸ™‚ even though interesting. Would be because my theoretical compositional skills are very poor, humbly comparing to what seem to be yours. I usually compose by ear, fixing some errors here and there, but surely not with the theoretical depth you seem to be in possession of. I issue my music when it seems ok with my hear, to an extent. I hope it doesn't bother your wisdom too much πŸ˜‰ Currently I unfortunately don't have enough time to learn more theory, even if I'd like to have as an experienced eye as you seem to have. Maybe in the future. Until then thank you for listening and taking time to review πŸ™‚
  3. Hi all πŸ™‚ Here's my last work : Hope some of you will like it πŸ™‚ Have a nice day
  4. Marc Deflin

    Little piece for chamber ensemble (strings)

    Thanks you very much Sabriel πŸ™‚ Yes there are dramatic elements in this piece. I like to go rather dramatic here and there when writing in minor key 😁 Well, let us here this study for piano !
  5. Marc Deflin

    Little piece for chamber ensemble (strings)

    Hi Luis, Thanks once again for your constructive and attentive feedback. πŸ™‚ Well on this bar 17 the chord is mostly a C7 with the E at bass, so with the F it shall become a C7 sus 4... ? I admit the chord wasn't my main concern here 🀐 Also my point here wasn't to resolve the tension, but just to let it disappear as the F procedes naturally from bar 16 and precedent motive : But you're right that it sounds a bit weird, I hadn't been shocked by it while listening-reviewing. This C7 chord with E at bass is the same as here (bar 10) : Regarding the second dissonance that you point out, it's obvious. Although I hadn't remarked it, I sometimes use this kind of dissonance as to "condensate a chromatism in one note". It can have various effects … πŸ˜‰ I agree with you I should check my dissonances more deeply. I'm used to write what I hear for each part, which gives them independency as you say, but might also easily trigger harmonic issues. I've worked on it recently, and, though some problems are remaining, I can tell you things improved a lot … πŸ˜‰ Aren't we speaking here of harmonic issues more than of counterpoint issues ? Thanks you Professor πŸ™‚
  6. Hi all πŸ™‚ Here's a new piece (adagio) to test EWQL Symphonic Orchestra's 4 violins and 3 cellos sections. Just let me know πŸ™‚
  7. Marc Deflin

    Symphonic study nΒ°2 in E Major

    Hi all A new version of the audio with EWQL SO :
  8. Marc Deflin

    Symphonic study nΒ°1 in E minor

    Thank you @eternum1968 !
  9. Marc Deflin

    Study for string quartet Β°1 in G Major

    Ah ok, everything's clearer now I'm used to introduce here and there - sometimes weird - dissonances, trusting my ears more than theory. This can trigger miscellaneous effects if you see what I mean...
  10. Marc Deflin

    Symphonic study nΒ°1 in E minor

    Ok , thanks for advising. I'll try to take this into account. Maybe a general theme missing ?
  11. Marc Deflin

    Study for string quartet Β°1 in G Major

    Hi, thanks for you replies @Rabbival507 : you're right : there are maybe kind of too many themes used here in the end. I wasn't inspired that much while composing this so I used this mean I guess more spontaneously... ;) I'm not used to these interval notation you use, so not able to understand properly what you say twice about intervals in your reply. @Luis HernΓ‘ndez : thanks for noticing, I hadn't myself.
  12. Hi all πŸ™‚ Here's a short (2'30) attempt at a string quartet. Any feedback appreciated πŸ˜‰
  13. Marc Deflin

    Symphonic study nΒ°2 in E Major

    Thanks Rabbival, About "these notes [that] would be super difficult to play quietly" : this "mp" is not the original dynamic I had written (original was mf). But due to a software oddity, this sounded weird, so I decided to make it more discreet. But you're right about the difficulty. I had this "think about the poor players that'll have to seat there through these parts both in the performance and rehearsal" in mind while composing, and I thought I had managed to give everybody a part of the cake. Maybe it's not enough. Moreover, I often hesitate to add too many instruments at the same time while writing, for four reasons : - Finale/Garritan I'm using lacks clarity when playing many instruments together IMHO - I sometimes like to give the listener a little rest, not going always full orchestra - I may lack some writing experience/skills - I may get lazy sometimes towards the end of the work... I nevertheless will keep your commentary in mind for my upcoming works. Thank you very much for listening .. and reading
  14. Hi all πŸ™‚ I composed this second study straight in a row after the first. I'm rather more satisfied with it. Please let me know what you think ; I also share the PDF if interested. Thanks for listening πŸ™‚
  15. Marc Deflin

    Symphonic study nΒ°1 in E minor

    Thanks for your feedback SGTwM, Yeah it's true this one lacks some ornamental things. I myself got aware of this while composing it, but carried away by the flow I didn't remedy it. I'll try to keep that in mind for my second study I'm currently in. This may also be due to my software, with which I struggle to make each line sound distinctly (I'm using simple Finale with Garritan). Do you think I'll need a proper soundcard or something ?