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Jared Steven Destro

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Jared Steven Destro last won the day on July 3

Jared Steven Destro had the most liked content!

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About Jared Steven Destro

  • Rank
    Intermediate Composer
  • Birthday 08/19/1998

Contact Methods

  • MSN
    jared.destro@gmail.com
  • Website URL
    Twitter: @jsdestro

Profile Information

  • Gender
    Male
  • Location
    Buffalo, New York
  • Interests
    Music, Poetry, Sports, and Cooking
  • Favorite Composers
    Carl Nielsen, Frederick Delius, Sergei Prokofiev, Dmitri Shostakovich
  • My Compositional Styles
    Modern
  • Notation Software/Sequencers
    Finale; Garritan
  • Instruments Played
    Piano & Organ

Recent Profile Visitors

3,181 profile views
  1. Thank you for the in-depth analysis; you have given me a lot to think about. I appreciate that!
  2. I think you have established a nice melody, and I like the concept of symphonic studies. What might be an interesting exercise is, rather than writing in repeat bars, write out the supposed repeated section and see what you can do to vary it. Given the length of the piece, it wouldn't have to be much, but it can help you out of your comfort zone a little bit, if that is something on which you feel you can improve. Nice work!
  3. I felt that these pieces were very expressive and I enjoyed the textures you present. Moreover, I felt that you did well to maintain an organic progression of material. I also felt that your harmonic vocabulary is intriguing and colorful. Ultimately, I think this is an effective piece. Nice work!
  4. I thought this was a good foray into writing a concerto -- I will say that I found it to resemble Bach's Siciliano movement (BWV 1053, ii) a bit too much. I think that it can be beneficial to have models like this, though only as a starting place (for instance, as a basis for the form of your piece). With that said, I think that you manage the textures quite well and that you do a fair job organizing your material. I would not necessarily say that it is short, though, I would avoid thinking of composition in this way. I feel that what's more effective is thinking about how well you explored the areas created by what material you have presented. For instance, asking yourself questions like, "Have I developed my motifs/melodies/textures in a way that is satisfactory?" or, "Am I pleased with how I crafted my music?" Questions like these can help you stay grounded and oriented when writing; either way, it is always safe to say that you have to start somewhere in order to get to where you want. Good job!
  5. I found the narrative of this piece to be very natural, and the transitions between sections was well-conceived. I also enjoyed your orchestration, particularly in the harp's section. You did well at shifting momentum and textures throughout the work, as well. Good job!
  6. Interesting point; it'd have to be left to the imagination in any matter, given the virtual performers. Though, in practice, I actively seek that sort of input from performers. Thanks!
  7. Welcome, and thanks for posting! I feel your piece was very emotional and definitely suggestive of a film score. Moreover, it had a very nice sense of motion. If ever possible, attach the score because that allows us to get more concrete with our comments. Either way, I felt you did a good job here!
  8. Thanks very much, Luis! It began as a bit of an experiment -- just to see what I could do with the material -- and ultimately I am proud of the end result.
  9. This as an experiment into complex forms: Being based on the Five Classical Canons of Rhetoric, the second of this set is disposition. This piece is designed to outline the thought process by first taking raw information (pizzicato entrance), organizing it into a series of fugues (each being progressively more resemblant to the theme running through the set, the "thesis" theme), until the material is combined to create a satisfactory product (having resolved all issues of synthesis, then the end section) to be used in the overall metaphorical "oration" (i.e. the intent of rhetoric). I have more detailed an explanation attached, as well.
  10. I found the piece very emotional and it was enjoyable. I think my friend in the comments has a point, in that more counterpoint would draw me closer to the edge of my seat. Good job, nonetheless!
  11. Thanks! I'm glad you enjoyed, that's what it's all about. My friend is checking it out now so with any luck I might be able to produce a recording.
  12. With this piece, I wanted to explore the application of the five classical canons of rhetoric to music. These canons serve as an inspiration in some way to each of the movements; here, the first -- invention -- has its own form, and it also relates to "invention" in the musical sense, i.e. two-part counter-point (section F). It is also the literal act of producing material that can be used later in the work; I am still working on the following movements. Let me know your thoughts!
  13. This is a piece composed for a friend of mine who has been gaining a reputation as a clarinetist here in Buffalo. It follows the style of the ballet dance duet on which it is based, and it comprises of a four main sections -- the middle being combined and performed with the second clarinetist playing bass clarinet. Throughout, there is a play of unity v. disunity between the parts (which are representative of the two dancers); for instance, the ending of each movement makes some remark toward this: the entrance ends with an octave (unified in a sense, but not fully); the adagio, the voices almost converge; the variations, they end misaligned; and finally, in the coda, they end as one. There is also a play with interchangeable lines, most notably in the third section, attempting to justify the intent of role reversal in the ballet setting of the duet. Enjoy!
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