Jump to content
Young Composers Music Forum

Monarcheon

Reviewers
  • Content count

    1,235
  • Joined

  • Last visited

  • Days Won

    103

Monarcheon last won the day on August 18

Monarcheon had the most liked content!

Community Reputation

255 Excellent

About Monarcheon

  • Rank
    Elite Composer
  • Birthday June 16

Contact Methods

  • Website URL
    http://blairenzmusic.webnode.com

Profile Information

  • Biography
    All in the "About Me" section!
  • Gender
    Female
  • Location
    USA
  • Occupation
    Arranger, Composer, Teacher, Conductor
  • Interests
    Cooking, Music, Drama
  • Favorite Composers
    Gershwin, Ravel, Tchaikovsky, Shostakovich, Reich
  • My Compositional Styles
    Romantic, Freely Atonal, Aleatoric
  • Notation Software/Sequencers
    Finale 2014, Logic Pro X
  • Instruments Played
    Cello, Guitar (classical), Piano, Violin, Percussion, Conductor

Recent Profile Visitors

5,582 profile views
  1. [CELLO] Double stops

    The first to the second because you have to switch positions.
  2. [CELLO] Double stops

    Depending on how fast they are, yes, they look fine.
  3. Valse de Cirque

    @ilv 1. "slides"? 2. awkward how? Parallel 4ths? The ending? 3. I don't really know what pauses you're referring to, honestly. The whole thing moves with exception of the fermatas.
  4. I'm assuming you like the sound this produced, kind of Boulez or Webern in nature, so fair enough. I will just say, I'm not personally a fan of that kind of applicative-aleatoric sound. My only thing to say I guess would be your nested tuplets are kind of harsh especially with the mixed meter you use. Interesting stuff... I don't have this kind of patience to write this kind of music.
  5. The Mountain

    The half step interval between the major 7th and the octave tonic in the main melodic fragment always strikes me as so bizarrely odd, when in I know it shouldn't in reality because of the atmosphere, but I can't help thinking it's out of place. All the other close intervals fade and mix so well that this one just doesn't follow in the same way. The rest of it is pretty nice, though I would maybe encourage you to bring out a melody line in full (or fuller) at least once as a sort of climactic moment, because the fragment you use is so pretty. Good job!
  6. V.D. - Unclear Destiny

    Interesting idea with your opening but the beat ends up sounding so disjunct with the melodic fragment the whole thing just kind of sounds off to me; keeping it more steady would have maybe kept the whole thing sounding more cohesive. The atmosphere of the main part of the piece is nice with the subtle chords and relatively obfuscated riff (in a good way)! The end section was fantastic with some really great chords. I think I would just say in the fast section to have it varied the second time through in some way. Maybe adding some more diminished or augmented chord, reverse bell tones or anything else to have the audience not fall victim to the "double repetition", which is more dangerous than singular repetition.
  7. Of Fire an Ice

    It has a lot of good, but this whole pedal the tonic idea you use for the majority of the piece gets a little tiresome for me. In the parts without melody and not much change, as an audience member, I wait to be dazzled by a variation... only to not get it. I really think it can be longer and explore the dynamics between the two characters a little more. I want too much hearing the end of it.
  8. Grim Forest Battle

    The use of chromatics in the beginning aren't as driving as they are comedic when I hear them for some reason. Having a pedal ostinato while the bass harmony changes can only go so far especially when the harmonies only transition by half step. It also repeats a lot... like, I think the piece is legitimately the same thing repeated three times. If it's meant to be a loop for a game or something, it's too short. You have the right feel down and everything! It just needs to go more places.
  9. 2 Questions

    1. It's whatever you want as long as you define the rules. That's the pitfall most composers starting with aleatoricism struggle with. Though I will say that barlines are useful when ending a short section. 2. Yes.
  10. Inside the Subway

    Oh! I can see how that might sound like a criticism without proper context. Non-functional harmony is basically our shorthand for harmony that exceeds the norm of the standard we're all used to. Since you seem to have a slight affinity for older games, this video might interest you!
  11. Introspection #1

    Not going to lie, the minor 6th appoggiatura on the dominant is a little distracting for me, and I'm not really sure why; perhaps because of the overlapped chord the melodic fragment creates. Also, I'm missing a bit of the low tones in general... it's just slightly sonically depthless but by no means a problem. Interesting work, and a good example of lush chamber sounds.
  12. Curvetude

    I agree that it's too long of one rhythmic idea. The hemiolae were nice at first providing a lot of much needed rhythmic contrast but change is everything in music. There are a lot of really cool harmonic changes, but one atmosphere for the whole preview was, in my opinion, a bit too much, even if its intent was to relax.
  13. Inside the Subway

    You seem to have an affinity for this kind of genre; I like it. The mixing on the piano was a little bit off, I think? Not really sure how to describe it but the envelope of the sound died a little too quick whenever the range was a little bit higher and was maybe too loud. But I'm not sure. Was nice to listen to. The 7th's were nice major or minor and the nonfunctional feel was airy and pleasant. Good job.
  14. This is actually really cool. The harmonies (intentional or not) are pretty well done. For me, the piece loses steam after the first whole note a little bit; it doesn't have the same energy, even though the harmonies still remain pretty cool. It would have been a really good time to vary the structure a little bit after a bit of pause (variety is the spice of life and all that). A lot of notational issues here; be careful about your layers and always make sure to move your rests that the layers don't inhabit. In addition, make sure you use your dotted rhythms correctly. A lot of the time you should be using ties to make the beat of 4/4 as obvious as possible (correct beaming). If that wasn't your goal, then you need to switch your time signature. There aren't a lot of things that are strictly "right and wrong" about music, but this is definitely one of them. I would really suggest having the congas be on a staff rather than a staff line as to differentiate your types of strokes a little bit better. Good job, and keep it up.
×