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Aiwendil last won the day on April 2 2016

Aiwendil had the most liked content!

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About Aiwendil

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  • Occupation
  • Interests
    Music, writing fiction, analytic philosophy, history
  • Favorite Composers
    Mozart and Beethoven
  • My Compositional Styles
    Classical, Baroque, Romantic, Early Music, Jazz, Progressive Rock
  • Notation Software/Sequencers
    Finale 2012, Encore 5, Reason 3.0

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  1. Oh, excellent! I'll watch that when I have a chance.
  2. In a traditional fugue, the subject is answered at the fifth; the answer doesn't have to outline a dominant harmony. What you call the dominant version is an answer at the fourth, which can also sometimes be used (typically in cases where an answer at the fifth would undermine the tonality). What you call the subdominant version is an answer at the third, which you could do, but it would be very non-traditional. I don't see any reason not to go with the answer at the fifth, though, starting on D.
  3. Youtube seems to have a time limit on file uploads, unless one has a verified account. And unfortunately, I used a public domain version of the film that I found, which is why the resolution is not so good, although I think it's still watchable if you put it in full screen. I'd like to make a version using a better quality source, but since different versions have different length intertitles, and I synced the score to this version, it would need to be altered to fit another version. I remember that you posted some of your music for this film a while back. It's a very different approach, but I liked what you wrote. Did you ever sync up your music with the film? I'd love to watch it with your score if that's possible.
  4. Wouldn't the dominant version start on D and the subdominant on C?
  5. Thanks! Yeah, this track is meant for a scene where Luke and Lando confront Niles Ferrier while he's trying to steal a New Republic ship; the heroic music is meant for them. Niles Ferrier's motif is the thing you hear around 1:02.
  6. Right, but I would say that's a side-effect of the way it's orchestrated; each of those three four-note statements is in a different orchestral voice, and the overall melody is formed by their overlap. I would say that if you want to just abstract the melody to a single line, it would be what you wrote except with eighth notes, on E flat and G, on the downbeats of measures seven and eight, respectively. Those notes are really crucial to the melody. There's no need to sustain them as half notes, as you seem to be assuming you'd have to do; the melodic outline is:
  7. Well, it's 10 measures in 2/4, remember, so I definitely don't think that's too long. You can easily find fugue subjects of that length in Handel. The opening motif by itself, as brutally direct and simple as it is, seems like not enough for a fugue subject. And with the longer theme, that gives you a chance to employ stretto later in the fugue. I do wonder why you omit the downbeats from measures 7 and 8, though?
  8. After finishing my Dr. Caligari soundtrack, I've returned to working on the second of my soundtracks for the Thrawn trilogy from the Star Wars expanded universe, and thought I'd post a track that I just finished. This is from early in the book, and incorporates John Williams's main theme and the Force theme, as well as introducing a new motif for a secondary villain. Any criticisms would be greatly appreciated as I revise this track and work on others. Thanks!
  9. Overall, I think it's good and, while it does use some of the tropes of this kind of music, there's inventiveness here as well. I thought that the section starting at 0:48 felt a bit thin - it needs something in the bass, I think, or perhaps at least more presence for the drums there. I also thought the last section might work better if it were a little thicker and, especially, if you used some more dynamic range and allow things to build more toward the climax.
  10. I've recently finished a project I'd been working on for years, on and off (mostly off): a score for the classic German Expressionist film The Cabinet of Dr. Caligari. I will probably come back to it and make some revisions in a while, but I thought I'd share it here in case anyone would be kind enough to offer some feedback. (It goes without saying that this is long, and if you just want to listen to a little bit or skip around, I'd still welcome comments!) If you'd like to watch the film with my soundtrack, the video is available here (the film is in the public domain): http://hep.bu.edu/~slinden/Caligari_final_libtheora.ogv Thanks for listening/watching!
  11. Almost any leap you can imagine is possible on flute. The thing to be careful about is the relative sound quality between registers. For instance, F4 is toward the bottom of the flute's range, which is naturally softer than the mid-range Bb5. So leaping down from Bb5 to F4, the F4 may have a little trouble "speaking", at least in fast passages. At a slower tempo (and certainly if they're quarter notes at quarter note = 80 BPM), the flutist will have enough time to adjust and make the F4 speak clearly.
  12. One of the many areas encompassed by my nerddom is Star Wars. When I was younger, I read a lot of the Expanded Universe books and would often make up soundtrack music in my head while reading. About ten years ago I decided to try writing soundtracks for Timothy Zahn's Thrawn trilogy. I finished book 1, Heir to the Empire, but the project has lain in abeyance for some time now. Recently, though, I've started working on book 2 again, and I realized I had never shared my Heir to the Empire music here. This is long, but I decided to upload the whole thing; feel free to skip around. It starts and ends with the usual John Williams main title/end credits formulas, and some of John Williams's themes are used fairly liberally throughout, but by far the bulk of it is new music. Alas, I have no scores, as I wrote this directly in my sequencer. I was fortunate enough to have someone offer to make some album art for the soundtrack; this design is by Bob Akers: Front Cover Back Cover Any comments or criticisms would be much appreciated, particularly as I am currently working on the follow-up score. Thanks!
  13. I enjoyed these variations. Of course, it's hard to live up to the theme you chose - but the variations are sufficiently diverse in style that one doesn't really feel as if they are competing with Mozart's theme. I personally wasn't crazy about the scherzando variation; harmonically, it just felt a bit at odds with the style of the others. Or perhaps it's just a bit too scherzando for my taste. But the pizzicato is witty, the chorale is lovely, and the final variation was a very suitable finale. Nice work.
  14. Thanks for the reviews! I'm very pleased that you enjoyed it. I know what you mean about the sounds. I used Reason for the audio, but it's not great for this sort of thing. I wish I had access to a better sampler. I've seen conflicting advice on whether to write timpani rolls with tremolo markings or with trills, though I certainly agree that tremolo marks are more logical. Can you tell me where in particular you see examples of poor orchestration in this movement? I'd like to learn how to improve in that respect. I think you're quite right about the beginning of the second movement. There's too much space between the harmonic filler in the viola and the melody in the 1st violins. I see your point. I think some of the string passages could be easily improved with a touch of wind, and possibly the movement would not overstay its welcome so much if the repeat of the exposition were omitted, as it is in the second movement. Well, I can assure you that I am well aware that nothing I write will ever be a popular masterpiece. I write music in styles that I enjoy, for my own enjoyment. This probably isn't the place for a philosophical discussion, but I don't feel the need to apologize for writing Classical works, nor to view them as merely training for writing other music. Thanks again, though, for the comments! I do greatly appreciate anyone taking the time to listen and give me feedback.
  15. This is a Classical symphony I recently finished. I started off with the idea of writing something in the style of Stamitz and the Mannheim school, but more Haydn/Mozart influence came in as I went along. It's not really a pastiche, though; there are some harmonic things in the developments that are not really characteristic of the style, and it's very much written with modern instruments in mind. Any feedback would be most appreciated.
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