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Monarcheon last won the day on February 7

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
  • Location
  • Occupation
    Composer, Conductor, Arranger, Administrative Assistant
  • Interests
    Cooking, Music, Drama
  • Favorite Composers
    Gershwin, Ravel, Webern, Shostakovich
  • My Compositional Styles
    Maximalist, Modern-Classical, Musical Theatre
  • Notation Software/Sequencers
    Finale 25, Logic Pro X
  • Instruments Played
    Cello, Guitar (classical), Piano, Violin, Percussion, Conductor

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  1. Your problem is with particular passing tones at a lower metrical level. Like in m. 6, where there's parallel G# -> B and the passing A# doesn't count towards mitigating it. Be wary also that a diminished to perfect fifth going upwards is generally considered incorrect (unlike P to diminished going down), like in m. 5.
  2. It works mostly. Small note; watch the voice leading in the arpeggiated left hand. Sometimes it has the option of being a bit smoother, especially with harmonic extensions in it.
  3. Lots of people cite Ravel and Berlioz as the orchestration masters but I always like to throw in Respighi into that post-Romantic mix. As for your modern approaches, Lutoslawski's consistent patterns are very well-known, as are Stockhausen's opera cycles and multi-orchestra works. I might suggest adding Saariaho in there if not mostly for her careful and specific timbral markings.
  4. Trust me when I say if everything was tuned in fourths, it would be WAY harder to finger anything.
  5. Welcome to the industry. You'll find yourself thinking this a lot, then eventually going, "eh, fuck it". This is pretty standard for most art, let alone music. Compositionally speaking, find ways to transform your melodies, through augmentation, segmentation, or diminution and extending melodic fragments with portions of new melody to keep the familiarity in new contexts.
  6. Nope. Great on their own or sparsely to accentuate a part, but they're used to rests. Also stamina. That's just a general rule, though. Obviously different situations call for different doubling.
  7. Strings > Woodwinds > Brass is a pretty okay rule to follow (or at least it was what I was taught) most of the time when it comes to orchestration, in regards to playing frequency. It's more broken in canonical or fugal stuff where the idea is that the new voice is heard (unless you're Ligeti or Lutoslawski where they intentionally try to hide it). Because of this it's mostly homophonic stuff you'll need to watch out for and WW/brass density in terms of pitch structure also contributes to a psychoacoustic sort of overpowering rather than a necessarily acoustic one.
  8. Harmonically, it's mostly fine. The main thing to take a look at is sectional lack of varying metrical hierarchies. Contributes to how counterpoint is normally dealt with in the era.
  9. This is what you played in the video. Works fine in 4/4. Maybe you're extending the dotted rhythm past its confinement to a beat mentally.
  10. Yeah, then absolutely fine, though I'm not sure if they'll like you all that much, Jenkins 2.0.
  11. I won't necessarily argue that it's bad for basic development, but I am a little worried all of your examples are from the common practice period.
  12. It's a little busy, don't you think? It's not normally an issue, but your melodies being in similar ranges for some reason sounded strange this time. Lots of small crossed voices. What's the purpose of the instrumentally separated accompaniment figure?
  13. Listen to more pop music. Uses plagal cadences all the time. Obilque motion helps.
  14. Agreed. Especially the purpose and standard nature of the semitones within the collection.
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