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caters

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caters last won the day on May 27

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About caters

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    Advanced Composer

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  • Gender
    Female
  • Favorite Composers
    Beethoven, Mozart, Bach, Chopin
  • My Compositional Styles
    Classical, Romantic
  • Notation Software/Sequencers
    Musescore
  • Instruments Played
    Piano

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  1. A lot of them are also in a more rondo-like form, like for example the second movement of K 545 by Mozart or the Romanze from Eine Kleine Nachtmusik.
  2. I don't think art on it's own serves much of a purpose. The artist, be it a painter or a composer, gives the art its purpose. Without knowledge of the intentions of said artist or composer, there is no purpose other than to entertain or shock or provoke others. Beethoven's Fifth Symphony has a purpose, because Beethoven gave it that purpose. And the process by which Beethoven wrote his fifth symphony is as infamous as the symphony itself. My orchestration of Eine Kleine Nachtmusik has a purpose, actually really 2 purposes, one given by Mozart, the original composer, and another given by me, the arranger of the work.
  3. It sounds good to me. Very Pachelbel-like. One of the first pieces I wrote was a Pachelbel-like canon for woodwinds which you can see here:
  4. The only thing I like about Arnold Schoenberg is the way he describes compositional units built upon compositional units built upon compositional units, from the Motif to the singular phrase to the Period and Sentence to the Theme to the entire Sonata. His music, I don't care for, it's too modern, too atonal, too dissonant. Shostakovitch on the other hand is often considered to be a modernist. I wouldn't describe him as such. Sure, he does things that Ravel would probably absolutely hate. So what? Sure, his most well known symphonies are as dramatic as war itself. So what? I would describe Shostakovitch as Premodern, or in other words, what happens when Romanticism becomes more free in interval usage, throwing away the thought that the tritone has to resolve in typical fashion or even in typical suspended fashion, yet it stays tonal or at least is based on tonality. Gustav Holst is another composer I would describe as Premodern. I like pieces by Shostakovitch and Gustav Holst. I sometimes even think of Shostakovitch as "The Russian Beethoven" or "The Beethoven of the 1900s" because his compositional style has so many similarities to Beethoven's(everything based on a single motif, sudden change in dynamics on purpose, increased dissonance at the climax, a single minor chord being imposing, minor crushing the major key but getting weaker every time until it barely makes a ripple in the mended fabric that is the major key(i.e. Beethoven's Fifth Symphony esque), etc.) But when you get to things like: Atonality for the sake of Atonality and not as a polytonal failure (Gustav Holst's atonality in Mars I would describe as a polytonal failure, because it is polytonality that has become so unstable and warring with itself that it loses any sense of tonality at all(Seriously, if you were to end Mars from The Planets on Bb major instead of C minor, it would be no more or less resolved than the original)) That no note is to be repeated until the whole sequence has finished - The whole idea behind serialism That a diminished seventh chord can be consonant if repeated a whole bunch of times That you can have a diminished tonic, i.e. be in Locrian for the entire piece and not just a few chords That all 12 notes have to be used, No Exceptions - 12 tone serialism specifically 13TET and beyond That's truly modern. Shostakovitch and Gustav Holst, often considered modern, never did this at all. But they are too far away from the Romantics to be included in that list. Thus, logically, they are Premodern, not Modern, not Romantic, not anything else.
  5. I'm one of those that's kind of on both sides in a way. A lot of my pieces are written without a formal scope and so in that way are towards 21st century. But on the other hand, when I do write a piece with a formal scope, it is always the older forms(symphony, fugue, sonata, etude, quartet, rondo, etc.) and very often in a way similar to Beethoven, my favorite composer of all time and my biggest influence. And while contemporary music might be shoving atonality by the wayside, I still prefer listening to works that are Neoclassical(Haydn and Mozart influenced), Neoromantic(Chopin, Liszt, etc. influenced) and Neobaroque(Bach, Handel, Pachelbel, etc. influenced) over those that are just 21st century and have no further obvious classification.
  6. I'd be willing to write for just about any instrumentation. Solo, piano or otherwise? - Yes, definitely Duet? - Yes Trio? - Yes Quartet? - Ehh, depends on what constitutes the quartet. Woodwinds, maybe, Strings only, most likely not(I find String Quartet to be harder to write for than Woodwind Quartet, despite similar principles applying to both) Quintet, Sextet, etc.? - Same as applies to Quartet Chamber orchestra? - Yes, this has become a common instrumentation of mine Symphony orchestra? - Yes, as long as the piece isn't too long. Longest piece I've ever written for Symphony Orchestra is 10 minutes long
  7. The harmony could do with some slight variation. But the melody, it has enough variation that despite the repetition, the melody itself doesn't feel too repetitive. As for varying the harmony, that could be anything from adding chords in between the chords of your loop(Em -> C -> G -> Am is your loop, right?) to adding extensions like sevenths and ninths to some of the chords.
  8. So going from the sort of 4/4 waltz type of thing I have occurring right now with the rising arpeggio to a chord to just a bass line without the chords should make the countermelody more audible than it is right now. I thought that it might have to do with the bass line, I just wasn't sure about it.
  9. So, I am writing this piece trying to evoke a summer evening and I thought that a duet might be the best option for that. And I figured that instead of using a woodwind, I would use a string instrument. Then I quickly, I decided to use the violin. And you can see already in 16 bars, different textures happening, which is a good thing. I'm thinking of possibly starting a second theme at Bar 17 Bars 1-4: Solo Piano, Homophonic Bars 5-8: Still more or less Homophonic, but the violin enters with a grace note figure Bars 9-12: Violin main melody, Piano Right Hand middle voice, Piano Left Hand bass Bars 13-16: Bass still intact, but now a contrapuntal passage, still with the main melody in the violin, at least mostly But after writing a countermelody, I'm now not so sure about the contrapuntal passage. It seems to kind of become a single melody and I don't know if that's because the bass line is still intact chords and arpeggios and not a melody in it's own right or what? I mean, piano does tend to blend with itself, but a countermelody more or less disappearing in the texture? If this were orchestral, I could see that happening, but in a duet, I don't see how it could happen and yet it has? The chords are in an octave where I feel comfortable spelling them in close position. In fact, the only open position chord in my bass line is the second G chord with the added E on top. That gives, I think, sort of a split chord feel between G major and E minor. That chord could be analyzed as either G major or E minor, especially if it was in a piece that switched back and forth between G major and E minor. I would analyze it as Gadd6 though, because of the preceding G major triad and the key signature of D major. Anyway, I digress. Why is my countermelody disappearing? Is it because of the bass line not being melodic? Is it because the countermelody gets awful close to the bass line? Here is the piece as it is currently(The audio for the piece including the bass line ends at 0:40) and then the contrapuntal passage by itself without the bass line.
  10. I couldn't find an unconvincing harmony or melody in your symphony. The only trouble I could see with getting this performed is the Horn in C. Back in the times of Mozart and Beethoven, Horn in C was very common. But nowadays, virtually all horns are made as Horns in F. I don't know if Horns in C are even made anymore or how common they are if they are still made to this day.
  11. @Tónskáld Interesting, I didn't even really notice the clash. The beginning of the piece sounds to me, like a theme Mozart might use. For your first try at writing a symphony, this is great.
  12. What about those few critics I encounter though that are truly harsh? I've had that on Musescore.com and more recently on r/composer, a subreddit. This whole sensitivity to criticism though started years back when the criticism I got was on stories I wrote. Some harsh critics barely give any positive feedback at all and others are so aggressive about everything that everything they say feels negative, even the positive feedback. And when that happens, it feels like a personal attack on me, because the composition feels like a part of me, and that causes me to get so angry at the harsh critics that I feel like I can't ignore them because of my anger nor accept it because of their aggression and I'm stuck in this defensive justification in such a situation to avoid starting an internet war out of emotion. It has even gotten to the point where I leave a certain place for years(only gotten to this anger peak with my stories though, thankfully). After having had that occur multiple times, I'm sensitive to criticism and it feels like there is no hope for me, even as I improve. And even after 10 years of having more constructive criticism in my writing and more than a year of having more constructive criticism in my composing, I still can't get over that hurdle that is the "I'm going to lose to the harsh critics no matter what I do" hurdle. Believe me, I've tried to get over that hurdle many, many times.
  13. Well, I mean, the topic I got basically describes a person with depression. Not the mood but the mental disorder. And the mental disorder of depression is anything but subtle, flipping from melancholy to happiness in a split second or in the case of Beethoven's depression, flipping from normal mood to extreme anger in a split second. That's why I have such sudden tempo transitions from Andante con dolore to Allegro giocosso. Harmonically, my transitions aren't so stark. Parallel major/minor switch is quite common and so are chromatic mediants.
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