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pateceramics

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pateceramics last won the day on June 12

pateceramics had the most liked content!

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About pateceramics

  • Rank
    Seasoned Composer

Profile Information

  • Biography
    I'm 33, and just got into composing over the last year or so, although, I was always the kid who made up an extra harmony part when singing along to the radio. When I was a very shy teenager, I'd sing a little harmony part when we sang at summer camp, and other people picked the part up until, suddenly we had two parts. And then I'd make up another part, and other people would pick it up too, and then there were three parts. It made me unbelievably happy.

    Since I'm mainly a singer, I've been writing for a cappella choir, but when I feel a little more sure of myself I'd like to learn to write a decent piano part if nothing else.

    Over the years I've had 5 violin teachers, 2 banjo teachers, a brief fling with penny whistle lessons, 3 voice teachers, and sung with 2 a cappella groups, 7 choirs, and a wee bit of musical theater which got me out of taking gym in high school. Thanks for the warm welcome to this community and your continued feedback. Can't get better without feedback!
  • Gender
    Female
  • Location
    Malden, MA, USA
  • Occupation
    contralto, potter
  • Favorite Composers
    Vivaldi, Brahms, Lauridsen, Thompson, Gillian Welch
  • My Compositional Styles
    Eh, you tell me.
  • Notation Software/Sequencers
    MuseScore
  • Instruments Played
    alto, clawhammer banjo

Recent Profile Visitors

11,737 profile views
  1. Glad that was a help! If it gets performed, I suspect the conductor would just go ahead and stretch the time in those places, even if it's not spelled out in the score.
  2. Yes, exactly. Just a moment of silence to set off different musical thoughts from each other and reveal the structure of the piece.
  3. At 8:29 for instance. You go from a fast section to a slower one, and a moment's pause to savor what just happened and set expectations of a change in mood would do well I suspect.
  4. You've out done yourself here! The orchestration is right on for the Western topic. There were some details I heard that I wished you'd chosen for further development. This was certainly not a short work, but you have enough material here to stretch the length very comfortably. One minor detail: you could have taken a little more of a grand pause between sections (the transition at the beginning of the ice and snow section stood out in particular as a bit rushed). Great variation of mood and tempo!
  5. pateceramics

    Ashes

    Thanks so much, KJ. I'm glad you enjoyed it. Good to see you on YC again, it's been a while!
  6. pateceramics

    Ashes

    Thanks for taking a look at it. Yeah, there are a lot of 2nd inversion chords through that section, which lend a somber, mysterious tone to my ear, but maybe there is a better way to handle them or to achieve that effect. All voices move smoothly there, so hopefully it's not creating a technical problem for the singers at any rate. Time for me to do some review on 6/4 chords and hopefully the next one will be an incremental improvement! Thanks again!
  7. pateceramics

    How to develop

    Gotcha! I think this is a good start. I liked the combination of the flute line and the horn entrances for texture. One thing to think about is what your ensemble looks like, and how much time each voice has to take the lead. Is there an instrument that has been in the background, but hasn't had a chance to carry the melody yet? Can you bring them to the forefront for a while?
  8. pateceramics

    How to develop

    Were there supposed to be long chunks of silence, or do the levels need adjusting? Maybe it's getting so quiet something isn't coming through?
  9. pateceramics

    Ashes

    Thanks for taking to time to take a look at it for me, Tim! Yes, the lyrics are mine. It's easier to write your own than to find and get permission to use something on a particular topic sometimes. I actually don't want a hairpin in the sop 1 at m. 11. I want their text to stand out from the texture there. mm 35, 36, and 67: Thanks! I can't reduce the staff size on the piano part without it throwing the software program into great confusion and needing to move all my dynamic and tempo markings back where they are supposed to be by hand, (in all parts, not just the piano), so I'm not going to bother for this go round, but that's a good point. I'll keep that in mind for future pieces. Thanks again!
  10. pateceramics

    In this house we eat toddlers

    That had a delightful "fractured fairy tale" feeling to it. The choice to use a repeating motif and build up the layers worked very well. It evoked the simplicity of childhood at the beginning and then showed all the nastiness that crawls out of the woodwork of a seemingly "nice" suburban life. And I also hate those inspirational signs. I have one in my house that says "be nice or leave." Short and to the point. It's in the kitchen, just above the big chef's knives, and both are visible from the front door.
  11. pateceramics

    Momentary lapse in apocalypse

    Interesting. I liked the atmospheric sounds at 1:40. That was a good transition. What are the words?
  12. pateceramics

    Ashes

    Oops. Found one myself already. Missing a hairpin in the piano reduction at m. 25. Sigh...
  13. pateceramics

    Ashes

    Hi all, Any feedback would be appreciated. An extra set of eyes on the score for enharmonic equivalents and other notation errors in particular! Thanks! Come marry me unto the earth. Cover me up with your roses, Cover me up with the ashes of my youth. I’ll drink the night gladly. Bend me to the arms of the earth. Fill my ears, pond deep. Eyes are for dreaming, Ease them shut. Skin is for the living, Crumple it to the floor, Skin is for the living, Live no more. But let me keep my love. Trust me with your remembering, And watch me off to sleep.
  14. pateceramics

    Which of these lieds is best?

    I would tailor it to the schools you are applying to. A more experimental school, interested in pushing compositional techniques forward into new harmonic or other areas might find the first one most appealing because the music illustrates the text in so many different ways. A more prim and proper school focusing on the fundamentals might be more drawn to the more conventional structure and beauty of the second or third one.
  15. pateceramics

    How to deal with doubt

    If you're feeling too nervous to be creative at the moment, take a break from composing and practice other skills to reassure yourself that you're ready. Music theory, music history, practicing your instrument, ear training, sight reading at speed... all of these are things you're going to do more of once you get to your music school, so it's not wasted time to do some practicing now. They are also life-long skills that you will keep reviewing and improving, even after you graduate. If you think of this as a longer journey than just the program you are heading to now, that may make this particular step less intimidating. Are you accepted to a program already? Or still waiting to apply? I couldn't tell from your post. If you haven't gotten to the application stage yet, do some research to figure out how best to prepare yourself. Talk to your music teachers. Look at the websites of programs you are interested in and see what their application requirements are and what subjects they teach in year one. The music theory AP test has information online you can download to practice. Even if you're not taking that particular test, it's a good place to look to see if you've covered all your basics. Take some textbooks out of the library or order them online and do a bit of reading to introduce yourself to concepts you haven't run into yet and review old ones. If you're nervous, prepare yourself. 🙂
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