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Monarcheon last won the day on April 6

Monarcheon had the most liked content!

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327 Excellent

About Monarcheon

  • Rank
    Elite Composer
  • Birthday June 16

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Profile Information

  • Gender
  • Location
  • Occupation
    Composer, Conductor, Arranger, Administrative Assistant
  • 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

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  1. 4-18

    @punintentional I'm more used to people just saying the actual set class, in this case (0147), since I think that's a little more easily recognizable and gives you a bit more info.
  2. 4-18

    It's interesting. I rarely hear someone refer to a set class by its Forte number. Anyway, it's really well done. Watch out for the writing out of some of your rhythms and I feel like some of the things that maybe should come out are covered up by the other instruments but the ideas are good. Do you know "Pas de Deux" by Stravinsky? Take a listen and an analysis of that; late Stravinsky was a set class monster.
  3. Experiments with Garageband

    So... I'm going to first suggest you study harmony. You seem to know what you've heard and are trying to reproduce it but haven't quite found the rules for doing that. Even having the most basic harmonic language in your back pocket would be good. It just seems like you're trying to have all the voices do something interesting. This is known as "counterpoint" and no matter what set of rules you're following it always needs to be treated delicately, otherwise it's impossible to distinguish what's more important or what the focus is.
  4. I'm hearing a juxtaposition of the unaltered Moonlight Sonata and a track based on quartal harmony of F and C. I'm not sure what you're going for since the Beethoven is so present it almost feels like nothing was done with it. Maybe it's a mixing issue (background louder) but as it stands I'm not totally getting it.
  5. [Alternative] Wayfarer

    I'm a little confused by your V/vi chord resolving to I sometimes. Your bass notes also don't always seem to line up with your upper voices. I know voice leading is important, but it doesn't always work easily. 0:37 is an example of this that comes to mind. Your more laid back section is quite nice. The third section has a really strange chord at 2:07. Not so much the chord it leads to, since I can calculate the extensions to it. The C# in the background is a little weird. Overall, careful with your use of the major seventh voicing, since in parallel it voice leads to parallel dissonances.
  6. Cuarteto para Trompas

    Great work for horns. Some of your cadence points are a little bit off, like 15-16. They might go on just a bit too long. My other "note" would be the rather stark lack of dissonance in the piece. Makes it seem a bit flatlined when the dramatic arc doesn't suggest that at all. Your 4th horn part is also a hefty load. Nice job.
  7. First attempt at commercial music

    About the mixing, I can't tell if you want the backbeat to be emphasized or the on beats. It seems to be a little inconsistent. Compositionally, your lack of a lot of V chords in the same progression would make more sense if the song was convincingly in D phrygian, but the jump makes it a little awkward to pass through. I also agree the dropoff in 2:37 is really weird. It doesn't feel like a transition. You do this thing in your sections where you seem to almost have an off beat canon trying to capitalize on suspensions, but it's not quite right. Careful about the octave leap motions in the bass. It sounds a bit too disco-y that way.
  8. when ive fallen

    I wrote this for a 48 hour composition contest in Seattle. It did relatively well! The performers misinterpreted some of the markings but they had such a short time to learn it, I understand why that could have happened.
  9. Let's See Where It Can Go

    The reason we don't use commas for prime form is because we use commas for normal form and it gets confusing. I like how you shifted the triplet figure around throughout the piece rather than just the pickup.
  10. Pause at :15 was awkward and doesn't have the effect I think you want it to. Main chord progression going IV to v is a little bit weird. Should be reinforced better. :35-:40, melody shouldn't jump around like that with continuous appoggiaturas. :45, melody resting on G is boring and takes away from the energy you build. 1:00, mixing and soundfont on the accordion is significantly worse. Only using it briefly on its own diminishes the difference it makes. Move into 1:30 was good. Tighten up the Klangfarbenmelodie at 2:00. Modulation into G major was awkward. Focus on common tones. The modulation into A minor was much better. The last percussion hit at the end was unnecessary. I don't like Hans Zimmer's music, personally. The Pirates soundtrack is particularly one of my least favorites, besides Interstellar's because of how repetitive and anticlimactic they are. This track improves upon some of those traits, but falls into what I consider the main pitfalls of his writing. There are more rhythms in 6/8 to use than hemiola 3/4 and 2+1+2+1. The shifting modes ware nice and for the most part quite smooth. Don't be afraid to do new shit. Just because Zimmer is famous doesn't mean he's right.
  11. Would really appreciate your feedback especially. Thank you for your time.

  12. forsake, afraid, discouraged

    Yeah, that's something I had to come to terms with in terms of the vowel that the main (0 1 3) prime form comes back in. Thanks for your words!
  13. Poverty

    Opening with a third was an interesting choice, as it made the tonality ambiguous. Reminded me of Death and Transfiguration's opening. Chromatic movement in the bass, especially downwards was another nice touch. I heard a bit of a rondo form, when I don't think you really needed to rely on classical to forms to get your message across, even though what you wrote is quite beautiful. I always encourage people to move away from them, when they get good at what they do. The reliance of suspension was a little bit repetitive for me, but I can see how it fits in with your chromatically shifting tonality so it didn't get to me too much. Nice job.
  14. Perhaps I'll take a closer look at this later, because you seem to have a pretty good idea of the vision you want, but if I'm going to make one comment right now, I would advise you to fix your enharmonic spellings of chords. For example, in measure five, you have an Ab in the first violin, but it must be a G#, because you're spelling an E major chord, which does not contain Ab. In other words, G# is the major third of E, not Ab. That would be a diminished fourth, which doesn't exist in this style of tonality. Yes, they are different. Another example is the measure right after, where you have a Db in the first violin in a D∆7 chord, which means that note must instead be a C# because the major seventh of D is C#. I don't recall it being a huge problem throughout the rest of your piece, but I think this is a good learning point for you.
  15. How to compose music?

    @pateceramics My students sometimes do the same. Just like practicing an instrument, you're not getting better by not doing, that's for sure.