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Monarcheon

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Monarcheon last won the day on March 25

Monarcheon had the most liked content!

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About Monarcheon

  • Rank
    Elite Composer
  • Birthday June 16

Profile Information

  • Biography
    My job as a theorist and reviewer is not to force changes or ideologies into your music, but to make you question your decisions and beliefs in the process. Being able to defend your ideas not only makes you a better musician but a better-equipped human being, and ultimately, it's our job to be both, even while only exercising one at any given time.
  • Gender
    Female
  • Location
    USA
  • Occupation
    Composer, Conductor, Arranger, Administrative Assistant
  • Interests
    Cooking, Music, Drama
  • Favorite Composers
    Gershwin, Ravel, Tchaikovsky, Shostakovich, Reich
  • My Compositional Styles
    Big Band Fusion, Freely Atonal, Maximalist
  • Notation Software/Sequencers
    Finale 25, Logic Pro X
  • Instruments Played
    Cello, Guitar (classical), Piano, Violin, Percussion, Conductor

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  1. Thank you both! The huge chords come off in various different timbres depending on velocity of the strike, which is why they're awesome to use in consistent sequences.
  2. You forgot A# in your description scale, haha. That's kind of the important one. The piece is pretty cool, though you might want to consult a harpist on sharp fourths? I'm still trying to figure out pedals and stuff, so you probably know more than me. The couple parts with the dissonance between 6 and 7 were cool. I don't think you have to be conservative using Lydian-Mixolydian (how I learned to call it), and when we work in odd scales for the first time, sometimes we get so fixated on preserving the sound of the scale that we sacrifice our ideas for it. In major/minor we alter tones all the time, so you could definitely expand this a little bit, introducing some new ideas. Remember that nobody is going to praise the piece just because it's in Lydian-Mixo, so you might as well have fun with it.
  3. Cool, pretty chill stuff. Some nice moments of harmonic oddity that can be interpreted in multiple ways. If there was one thing to harp on, in fact, is that some chord changes, especially to the tonic can sound a little dorky in comparison to all the other great changes you have, especially when you try to elide the cadence so much.
  4. Serge touched on this a bit; to me, it just doesn't seem to have a ton of range from apex to nadir. It seems to stay pretty consistent. I don't think this feeling is helped by the pretty static tempo throughout either.
  5. Felt a little bit too long without significant change– when you get to the end, it sounds like a sort of end to the exposition of a sonata form or something. Like, it felt like that should have gone somewhere. I don't know, the intrigue you built a the beginning was great, but a little disappointing when it felt like that was going to be the status quo.
  6. Impressively dynamic. Couple things: A got a little tired of the rhythmic figure of the piano in the beginning. The harmonies were cool (especially the first modulation), but even a couple bars more of variation would have helped. The use of the more Eastern scale was a little bit jarring to me upon first listen. I don't know why, but the effect it had was more instant, than transformative. Overall, nice work, especially the beginning and the end.
  7. Maybe tone the percussion a little bit, especially the snare drum. Because the bass line is constant (and you already did some of this), I would make some more internal chord changes stemming from the mid-range notes (i.e. creating a G6/A chord using the float-synth, over bass).
  8. Yeah, maybe tone back the percussion a little bit. The vox effect would be better as a linear slide than an exponential one since it spans a whole step, not just a semitone. The use of the syncopated figure at the end in the piano was a nice touch in that register. I could have used something outside of i VII VI VII, sometimes, though..
  9. I don't know if it's just the fact it's a demo, but when you get to the more aggressive part, I can't really tell the intention of the harmony in relation to the melody, I hear some iii and "bIV" tritone subs in there, but I wish everything was more connected– the jumps seem a bit arbitrary.
  10. Interesting and clever use of the second inversion bIII chord in the chord. Wish it could have gone a few more places than just that, not including the perfect fourth (G, C) pedal a separate chord progression after the first build.
  11. Careful with the handling of suspensions. Sometimes you have the sus4 and the third present at the same time, which can be used for effect, but because of how sparse the writing is, makes it sound more like an interval than a chord choice.
  12. A little bit hard to follow rhythmically. Adding something else in chords or counterpoint to take away from the power chord or parallel sound might have been welcome, especially in the beginning. When thirds are used, it's a little sparse sounding due to lack of proper upper support.
  13. It's pretty good. I take a little bit of issue with the ending if not just for the bit of anti-climax I experienced. It goes a lot of places tonally, but not necessarily harmonically, except for modulation, which I think you could have had a little more fun with– the cross relation in the beginning got me excited. Either way, nice work.
  14. I'm with Quinn. After I listened the first time, I dragged the slider into various points of the piece and always heard a tonicized E-flat somewhere in the bass or melody. The orchestration is needlessly sparse, especially for some of the bigger moments.
  15. I did this "piece per day" thing for about 250 days a couple years ago. Extraordinarily difficult, so props to you. I'm going to briefly discuss 5, and the differences between interpretations of runs. When you arpeggiate, specifically the diminished one around the piece, it will be analyzed as only a couple notes actually mattering to the melody line. This is particularly true because the diminished 7th chord is precisely the number of 16th notes in a quarter note, so it just sounds like a duplication. Thus, the piece kind of just stops in time for a bar or two. The opening run is a bit more effective in keeping its melodic momentum because of smaller, less consistent intervals. This is neither saying it's good nor bad; it's just a matter of auditory interpretation.
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