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Monarcheon last won the day on January 2

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, 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. Monarcheon

    Answer for a fugue subject?

    That's a very workable fugue subject – easy to answer. There's a brief period after the full answer in the dominant called a codetta where the composer uses free counterpoint to get back to the tonic. Normally, it'll be shorter than the subject is as to not take away from its importance.
  2. Monarcheon

    Fantasia in E Minor

    Pretty nice. I'd maybe leave your arpeggiation behind for some of the new material sections, but it's whatever. Notation thing: instead of the 2 dotted eighths, it's more common to see a duplet for the hemiola.
  3. Monarcheon

    Chromatic Sketches

    Again, work on the notation of the rhythms... using 4/4 sets certain layout expectations for the player. You have a lot of confidence in your timpani player. It's not impossible, especially with 5 timpani, but certainly harder to retune them especially near the end of the piece. Timpani scales are part of audition repertoire, but typically much slower for obvious reasons.
  4. Gorgeous work. I don't know how much people in a religious position of power know about the original reasons for stile antico, but the vast majority of the piece seemed to follow a lot of the rules. There were a couple spots where it could have been tightened up, but I'm not so nitpicky where I'd point out everything wrong, since on the whole it is quite good. For example, On page 20, system 2, m. 2, there's a leap away from a tritone interval formed between the tenor and the bass, which is a no go in the more conservative style. Parallel dissonances show up here and there, like the last page, second system, first measure, between the alto and tenor on beat 4 (the perfect 4th is considered dissonant in this time). To use a more contemporary term, your frequent use of Schenkerian voice exchange really helps the counterpoint out which is something I wish I knew helped when I was starting out in this very particular style. Complaining about this seems stupid though if being 100% accurate wasn't of interest to you. While I'd normally adopt a "composer intent doesn't really matter", I feel the same about historical particularities unless it's an exercise in said historicism. Very well done.
  5. Monarcheon


    This is a lovely little work. It's much appreciated the return to A section material isn't so overly elaborated on. I know it's kind of a Chopin thing to do, but I'm not really a huge fan of leaving melody notes to hang and dry, especially when the inner voice stuff remains pretty constant. The fact that they're done in octaves makes me want to believe there's something more important happening there than just establishing material.
  6. Monarcheon

    Etude No.2

    I'm not qualified to judge its capacity as a learning tool, but it's a pretty cool piece as is. There are some syncopated inconsistencies with how you present the meter. I understand its a hemiola effect and you want that to be clear, but since it's a bit of a delayed hemiola, it might be nice to see how it all fits in, otherwise it looks a little strange.
  7. Monarcheon

    Gestapo Reinforcement Arriving

    This is a pretty good opener. The only thing that threw me a bit was the opening – A minor is eventually your key center, so introducing it early is a good idea, except it sounds like the major 6th in the ambiguous "C" tonality you start off with. Maybe it was just my ears, but because of this I heard it as a C major opening, even without the third.
  8. Monarcheon

    Stupid question from someone with no formal training

    In a lot of scores, there is actually just 3 full pages of rests for those instruments that happen to not play. I know many conductors who prefer this visual score style as opposed to the alternative, where instruments that don't play are simply removed from the pages that don't include them (excluding the first page – the example below is a bad one of this). Two slashes are used to indicate a break in the system if only few enough instruments play to warrant a page break.
  9. Monarcheon

    Do You Have A Style As A Composer?

    Seems like a bit of a straw man, no? My point is simply knowing the artistic concepts doesn't translate to good art inherently. That takes time, and yes, experimentation.
  10. Monarcheon

    White Christmas

    Merry Christmas, everyone!
  11. Monarcheon

    Child of stars

    I struggled to understand your Affekt here. Is it serene, energetic, comical, etc.? I suppose it could be a mix, but the fact that the style never changes makes certain moments like the chromatics at :40 or the leading tone pedal at the end a little strange. It's got some good interplay, some of it just clashes for me.
  12. Monarcheon

    Canon Dance

    I'm not sure if you have a rock/metal background but the use of open fifths/fourths (power chords) doesn't translate very well to piano, especially in counterpoint. It's generally some pretty fluid interplay, but vertical movement of either of those two intervals really puts a hamper of things, when some extended harmony could have a lot cooler to implement through oblique motion.
  13. Monarcheon

    Promises of Deliverance

    I agree with Ken on the bass line front. A drone really isn't the same thing. Very smooth modulations which is really nice; normally I wouldn't suggest this, but accentuating these might be a great touch to add, especially lingering on common tones!
  14. Monarcheon

    Star Wars - Carbon Scene

    It's decent as film music, but the use of motivic expansion of the William's score is what makes it intriguing... I notice that yours is a lot more sinister sounding than the original which is honestly very welcome. The use of parallel-related keys was a nice touch to add to it.
  15. Monarcheon

    Sonata per oboe e organo

    It's very nice. I found the overuse of linear intervallic patterns a little bit too much, especially in the beginning.