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Monarcheon last won the day on November 2

Monarcheon had the most liked content!

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461 Excellent

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. Please also take the time to leave some reviews and feedback of your own other's works. Helps the system go 'round 🙂
  2. Lovely little work. I rather admire your what sounds like intentional clashes of leading tone voicing leading over or under alternatively applied harmony.
  3. The opening is very hard to discern what's going on rhythmically; it also differs so much from the rest of the piece, that making some sort of reference to it in the later sections always does help.
  4. Recording is just incredibly quiet. Fine use of chromaticism, but it's all in very short bursts.
  5. Might take a bit to get properly published and everything. We'll see; it's not that impressive haha. That was half of my intent, but I do understand how that could be a little bit flat. My main idea was trying to signal each movement with a change in tonality, as opposed to just volume/rhythm, but I definitely see what you mean. Thank you!
  6. I'll check this out a little more later, but you should probably go over your figured bass again. m. 10 has a 9-8 suspension for example, and 12 has a 4-3. My other question to you is what are you trying to say with all of this? You've identified form and chords, sure, but why? To get a better understanding of the piece? How so? Just things to think about.
  7. That's fine, but again, no need to stress about it. Sentence structure may involve repeated segments, but other development forms definitely don't. Like I told KJ, I'm far more interested to see what you can do with material; that is virtually infinite.
  8. Maybe that should have been more clear. I meant the literal exact repetition (orchestration, rhythm, etc.) should always be at the front of the movements, but thematic development (i.e. sentence form) are okay for the movement's development. However, this is not the only way to develop a theme, so you should still be just fine. 🙂 This is a weird competition, so we'll be a little lax as long as we can tell development was thought about.
  9. Jesus, man, how much are you paying for this?
  10. @isuckatcomposing @Noah Brode @Gustav Johnson @Luis Hernández @Tónskáld @bkho @KJthesleepdeprived @J.Santos @HoYin Cheung @luderart The submissions link for your compositions has opened. Luis and I will moderate the post, but will not observe entrant submissions until the deadline, Nov. 15. @isuckatcomposing, I will add your entry to the list in 24 hours unless you do it first, as you kindly let me know ahead of time.
  11. Please post your entry to the competition in the appropriate forum, then place a link to that post in this thread. For general forum members, please comment on entrant's submissions in their respective posts, not this thread.
  12. It gets a little same-y... chromaticism near the end was nice and appreciated, but it mostly falls into an embedded phrase model , which I think more could have been done with, like extending the periodicity more irregularly, as opposed to the embellishing phrases you have now.
  13. If you ever have extra time, take a look at Palestrina's music: 18th century counterpoint is comparatively way more lenient. Buxtehude ricercares are also great imitative pieces.
  14. Violin and cello seem underutilized in this movement. Obviously don't go overboard with it, but it seemed like a very separated trio.
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