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Jared Steven Destro

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About Jared Steven Destro

  • Rank
    Advanced Member
  • Birthday 08/19/1998

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Profile Information

  • Biography
    I started out with music back when I was twelve, about five years ago, after teaching myself piano by ear. I have since taught myself not only the basic of composition, but more advanced forms--e.g. symphonies, concert overtures, etc.--and I am always learning more. I am always open to feedback, and I appreciate any criticisms, as they are opportunities to get even better. I hope you enjoy my music!
  • Gender
  • Location
    New York
  • Interests
    Music, Poetry, and Writing
  • Favorite Composers
    Joachim Raff, Johannes Brahms, Joseph Haydn, Johann Sebastian Bach, Franz Schubert
  • My Compositional Styles
    Classical and Romantic period
  • Notation Software/Sequencers
    Finale; Garritan
  • Instruments Played
    Piano, Organ, Guitar

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  1. Duets for Oboe and Bassoon in Octatonic Scales

    Well, thank you. It can be a bit of a challenge when you have shorter pieces, as you do here, I think; though, one thing you do that is beneficial is repeat certain moments almost exactly (or exactly) as well as use consistent rythmic figures -- looking even at the very beginning of the first piece. For me, at least, I constantly consider how I feel (e.g. is there some material/motif/figure I could be developing in this section etc.)
  2. Duets for Oboe and Bassoon in Octatonic Scales

    I quite like this, actually. I'm rather unfamiliar with more contemporary music -- not really a musical style to which I am attuned, though I think you found a nice balance between the two instruments, and that you extracted a generally more lyrical feeling in the music (something that I love). Great job!
  3. Sonata for Clarinet & Piano - I. Lyric

    Thanks for the comments! I could see your point, definitely, in that staying in the same/similar harmonic language can be beneficial (I generally work like this). I don't have any particular reason for thinking modally in one moment, and more conventionally in another -- it turned out that way and I like how it worked :P
  4. String Quintet in A minor - Jig

    Thanks a lot! I've been working on my individual style a lot these days, and this is how it has been. Also, as a side-note for the general listener, I'm planning on re-working the piece, re-evaluating the double stops and a few other issues raised.
  5. String Quintet in A minor - Jig

    Thanks for the feedback. I used the idea of a jig -- the dance itself -- as more of a starting point; from there, I developed ideas in a more classical mindset. Also, I'm not sure if you meant viola or the cello, though the sections with three-notes in the cello would be strummed, rather that really plucked (which I know is not a problem). If you meant a different passage, let me know though!
  6. String Quintet in A minor - Jig

    Hello, all. This is a piece I've been working on for a while for string quintet -- two violins, viola, cello, and double bass (the resources I have) -- and I hope for this to be a multi-movement piece in the future once I have more time to write. This is a quick jig that introduces material that I hope to carry over into other movements. Let me know what you guys think!
  7. Sonata for Clarinet & Piano - I. Lyric

    Thanks a lot!
  8. Sonata for Clarinet & Piano - I. Lyric

    Thank you very much for the feedback. It is definitely not for the faintest of heart, especially in terms of the piano. I wrote this piece actually for one of my professors! I was also quite focused on the mood changes, as you mention (often coinciding with textural ones). It was very intentional for the moods to change quickly, as I like the continuous change and variety that can bring; though, I can see the benefit, for sure, of maybe taking each section further. I would only fear disrupting the overall flow of the piece if I did that too much. I'm not completely sure what you mean by "acceptable vibe," but I appreciate the criticisms!
  9. Sonata for Clarinet & Piano - I. Lyric

    Thanks for the comment! I think I might be able to clarify the usage of staccato, and maybe just write a note in some sections to play lightly/separated without an expressed articulation. Thanks
  10. Sonata for Clarinet & Piano - I. Lyric

    Here is a piece I hope to compliment with two more pieces for a more complete sonata -- this is only the first movement. I've spent a while working on making my writing more concise for chamber settings, and once I actually write this whole piece, I plan on getting it performed and recorded. A large focus on this piece is varying textures and moods efficiently, as well as using the different motifs and melodic fragments to construct the music, concerning myself less with harmonic relationships etc. I've included a score in concert pitch, as well. Suggestions are helpful, and thanks! P.S. I attached a poem by William Carlos Williams, which helped me start the piece P.P.S. I appreciate all the comments, especially on the difficulty of the piano part, and when I finally incorporate this piece into a full sonata, I might re-evaluate certain places. The feedback helps a ton!
  11. Tersanctus in G minor

    Thank you very much! I was actually researching different masses, as well as the Eastern Orthodox Church concurrently, leading me to choose this text. It is one of the renditions of the "Sanctus," which is used in the Eucharist. I myself am not devoutly Catholic/Christian (certainly not in a social manner), however I occasionally find comfort in parts of faith. Ultimately, you can find an abundance of texts similar to this throughout the Bible, (The Book of Psalms, for example). I usually write my own lyrics in English, and I translate them into Latin for aesthetic purposes, often. Anyway, thanks a lot for the comment, and good luck!
  12. Tersanctus in G minor

    Thanks, again, Luis. I'm really glad you enjoy it; I'd love to hear it performed as well, haha.
  13. Tersanctus in G minor

    Thanks, Monarcheon. I always appreciate your criticisms. I hope to play around with vocal writing a little more in the next month or so, so thanks for the suggestion!
  14. Tersanctus in G minor

    Thanks very much, Luis. It's been a rough few months, so I appreciate the kind words!
  15. Tersanctus in G minor

    This is an application of the "Ter sanctus," (thrice holy) often used in the Eastern Orthodox Church; it is also known as the "trisagion." I'm thinking of working out some more sacred motets in the near future. The piece itself is rather simple harmonically and texturally speaking, and this is intentional; I prefer it this way. These pieces could certainly be more complex and thorough, but I enjoy writing small, simple pieces with a sacred text. Anyway, I'd still love some feedback with all that said!