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Jared Steven Destro

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Jared Steven Destro last won the day on February 4

Jared Steven Destro had the most liked content!

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About Jared Steven Destro

  • Rank
    Advanced Member
  • Birthday 08/19/1998

Contact Methods

  • MSN
  • Website URL
    Twitter: @jsdestro

Profile Information

  • Gender
  • Location
    Buffalo, New York
  • Interests
    Music, Poetry, Sports, and Cooking
  • Favorite Composers
    Joachim Raff, Carl Nielsen, Frederick Delius, Claude Debussy, Ralph Vaughan Williams
  • My Compositional Styles
  • Notation Software/Sequencers
    Finale; Garritan
  • Instruments Played
    Piano & Organ

Recent Profile Visitors

2,456 profile views
  1. Jared Steven Destro

    Novella for Flute, Clarinet, and Bassoon

    Thanks for the feedback! I might still add the score; I was curious what people thought. Also, I appreciate the thought on pacing/climax development -- I will keep it in mind!
  2. Jared Steven Destro

    Symphony No. 1 in A minor, Op. 41 - Dublin

    Thank you so much -- you have no idea how much your kind words mean to me! I spend a fair amount of time tinkering with GPO, trying to make it sound human.
  3. Jared Steven Destro

    Novella for Flute, Clarinet, and Bassoon

    Hey, guys! I’ve taken a bit of a break from the site, but I felt I’ve been on a bit of a role and I want to share some of my music with everyone. I have been a bit more afraid of losing my music and having it stolen, so I have not posted the score along with the audio, though I feel that, in this way, we become a little more attentive to the music itself and the performance accompanying it (not horrendous, albeit a computer’s rendition). This is a “novella” for flute, clarinet, and bassoon, so termed in reaction to the narrative quality of the piece, as well as the episodic vignettes that occur throughout the work. I finally feel more comfortable with my own, personal style and musical voice, and I am quite pleased with the result. I would love to hear your feedback on what you hear – e.g. the difficulty, the duration, the technique involved, etc. – so that I might be able to thoroughly improve the piece (especially since I am always learning)! Hopefully you understand why I might be hesitant in posting the sheet music, and perhaps you might be able to allay my paranoia with some advice. Nonetheless, I appreciate all feedback, and I’d love to hear what you think of it!
  4. Jared Steven Destro

    Oboe Sonata in D major, "Fable" - I. In the Frog Marsh

    @Rabbival507 Thanks for the input! I could see the case for 6/8 in hindsight, definitely; I think part of the rationale relates to a fair bit of the melodic material. Even with the first bars of the piano part, I was composing while thinking of the melody (and in those bars, the harmony as well) in 2/4. I might definitely consider returning to the piece in the final drafting process (wherein I rewrite and recompose the entire piece) and putting it in 6/8 in most instances. I quite enjoy the idea of the narrative, even if it is trivial (and unnoticeable to the audience). Also, you make an interesting point on the balance of the sound! My hope is that this could be easily worked out in practice, and that isn't necessarily a main concern to me at the moment (the thought certainly crossed my mind that it could be rather loud). Thanks for the suggestions, and I'll keep them in mind when I come back to it!
  5. Hey, guys! I just finished work on the first movement of a new sonata, this time for oboe and piano; it was a quick two days. I was first planning a piano sonata, but I shifted my mind over to a duet like this instead, a form in which I enjoy writing the most. The sonata, I plan, will have three movements, and this is only the first. It has several main key areas/significant harmonies, and all of them are in mm. 30- 31. This is a piece with a story-without-words, with many motifs depicting the motions and movements of the eponymous frogs and of flowing and dripping water. While much of the music could have been conceived of in 6/8, the music finally transforms starting in the frog dance at m. 156, wherein first the meter changes into the easiest conceptualization of the original music, then it shifts from duple into triple (i.e. the oboe's introductory line), and finally back into compound duple as its final transformation, all the while taming the bombastic eccentricity of the previous material, as well as the shifting harmonic language and chromaticism. Let me know what you think! P.S. The type-facing is elementary and it will be adjusted in the final drafting process, when the following movements are done.
  6. Jared Steven Destro


    I definitely enjoyed the piece -- there was plenty of variance that kept it interesting and unpredictable, and I felt the concept of it was very creative. Great job!
  7. Jared Steven Destro

    Pastel in B minor - Blue Portrait

    Thanks, I appreciate it! It's far from a high-quality recording, but I didn't think at the time I would transcribe it note-for-note; turns out I did!
  8. Jared Steven Destro

    Pastel in B minor - Blue Portrait

    Here I have a short piano piece that I have termed as a 'pastel,' a term I find to fit well (especially with the heavy sustain and blending used throughout). I have had a particularly difficult time composing solo piano music; and, for this project, I recorded myself improvising. I was happy with the end product, so I transcribed the piece from the audio. Before recording, I had a general idea that I wanted to depict a color, so, to begin, I merely envisioned the color blue, and I played. Like my recent projects, I found a painting by Georgia O'Keeffe -- "Blue, Black, and Grey" (included in the score) -- that I think matches the music well, and that I feel coincides well with my original thought process. Being improvised, it is very much reminiscent of "stream-of-consciousness;" though, while I played I attempted, at least, to follow different melodic, harmonic, and otherwise motivic fragments in mind. Nonetheless, I am interested to hear your thoughts on a relatively unformed area of my compositions. The audio I included is my improvised session, from where the audio was transcribed, and I wanted (as well as I could) to preserve the liberative quality by use of abundant time signature changes, which almost add a moment of pause for the performer (as though they were composing themselves). My ultimate goal is to complete a set of similar pieces, all on my perceptions of different colors.
  9. Jared Steven Destro

    Aquarelle for Flute & Piano - "Sky Study"

    Thanks a lot; I'm getting more and more comfortable with my individual writing style!
  10. Jared Steven Destro

    Fantasy for English Horn & Piano - "The Grove"

  11. Jared Steven Destro

    Fantasy for English Horn & Piano - "The Grove"

    Thank you very much! Hopefully, I'll be able to get you guys an actual recording of this piece (and my other chamber pieces) soon.
  12. Jared Steven Destro

    Aquarelle for Flute & Piano - "Sky Study"

    Interesting. Well, thanks for letting me know, and I'll have to see if my flautist has any problems!
  13. Jared Steven Destro

    Aquarelle for Flute & Piano - "Sky Study"

    Thanks for the feedback! What is it that makes it particularly difficult (the leap in range?)?
  14. Jared Steven Destro

    Aquarelle for Flute & Piano - "Sky Study"

    Thank you so much! I use Garritan (4.0, I think, which came with Finale 2014). I always use the "solo" instruments -- e.g. "flute solo," as opposed to "flute player 1" -- as I found the sound is significantly more realistic. I also keep the reverberation from medium-to-low -- as it really muddies the sound under most, if not all, circumstances -- and I increase the "quality" setting of the ARIA player to max (though, to be honest, I'm not sure what difference this makes). Anyway, it is my plan to get real players performing this, but Garritan offers a realistic enough start!
  15. Jared Steven Destro

    Aquarelle for Flute & Piano - "Sky Study"

    Thank you very much, I appreciate it once again!