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Maarten Bauer

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Maarten Bauer last won the day on October 31 2018

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About Maarten Bauer

  • Rank
    Seasoned Composer
  • Birthday 05/02/2000

Profile Information

  • Biography
    Sine musica nulla vita; without music no life. I have been composing since one and a half year and I try to develop myself as fast as possible to find my own 'voice.' Never have I had any composition classes, so one may say that I am an autodidact composer that learned from the internet, by studying books, but above all by listening to all kinds of music. Next school year I have my final exams and I am going to follow the pre-study of composition at the conservatorium ArtEZ (Zwolle, NL). I am very enthousiastic and I cannot wait!
  • Gender
    Male
  • Location
    The Netherlands
  • Occupation
    Student
  • Interests
    Music, architecture, painting, drawing, language, poetry, literature, philosophy
  • Favorite Composers
    Shostakovich, Stravinsky, Ravel, Wagner, Debussy, Glass, Bruckner
  • My Compositional Styles
    Experimental, avant-garde, neo-classical, minimal music
  • Notation Software/Sequencers
    MuseScore, Noteflight
  • Instruments Played
    Piano, soprano saxophone and alto saxophone

Recent Profile Visitors

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  1. Thanks for the message. At time I am really busy with Conservatorium. I will try to take a look at it again when I am less busy!
  2. I see this as a nice brief begin of a bigger analysis. The analysis is pretty shallow. I suggest you study both pieces and then come up with more notes. That is a good exercise.
  3. Thanks! Of course you are true about the pedal marking, but I wanted to visually show that the note is still sustained. Placing a rest would imply that there would not sound anything and slurring the note would imply that you hold the note for the entire duration. Obviously I thought about using a key signature, but this goes against the idea of me: a three note piece with a C, E flat and B flat, not thinking OR suggesting any tonality. Maybe you disagree with me, but I find it easier to read it this way too. Even IF I would use a key signature, I would leave out the A flat, because it is not used. Tonality in this piece is not as important as the three pitches themselves. Ligeti would use a key signature as in his Musica Ricercata, but for me that is something I want to avoid. Thanks again for the well-thought questions!
  4. I am glad it touches you! Thank you!
  5. Hello folks, In a long time I post one of my works here. Melting Icicles is a winter prelude, which represents a two-sided story. On one hand, the piece shows the utmost beauty of winter ice, in particular icicles, which reflect themselves in ice caves. On the other hand, Melting Icicles makes clear that this beauty is in danger due to climate change. Furthermore, there wafts a kind of melancholy over the music: If we continue our lives in the way we live now, there can be a day without these ice diamonds. * The piece starts fff , so watch out with ear plugs! Feel free to share your thoughts with me. ~ Maarten Bauer
  6. Everything is going well!! Nice to talk with you again! Personally, I disagree with your statement that classical music began with Bach. It is difficult to say where the beginning of western classical music is. Does it begin with renaissance? Ars nova? Or even gregorian chant?
  7. For me Bach is everything. His music helped me to get through tough periods and cheers me up the moment I listen to it. I wake up with it. I study with it. I fall asleep with it. It seems that I am addicted in a good sense to Bach. Although I listen to many other composers from all periods, styles like Machaut to Stockhausen to African to Indonesian music. I have been wondering for many years why it is Bach that can only give me so much joy, pain, passion and all other emotions so much more than other composers. What do you think the reason is that I feel that Bach is my everything? I am curious to know.
  8. There is no basic formula for using it. Be creative with the facts you get from the golden ratio and invent your own musical 'engine'.
  9. Another important point is what you see as accepted. Even in Mann's edition there are footnotes, which say that other theorists do or do not allow the things Fux does or does not. If I remember correctly, Fux sort of forbids lower neighbour notes, whereas Palestrina does write them. It is also a matter of personal and stylistic taste.
  10. There are almost always more solutions possible. Fux just didn't see the point of writing down all solutions, because it would be a never ending project. I saw the given solutions more as standard formulae, which I analysed both in intervals as in melodic progressions. If you have any questions, please ask!
  11. True. Maybe it's just that I don't want to write in the style of Bach but I would love to write like him, if that clarifies. I admire his craftmanship and his knowdledge of technique, but I don't want to write Bach, Bartok, Stravinsky. What I personally miss is enough freedom in my creativity. You point out an interesting, never ending topic, which is useful to everybody. When I want Bach-style to listen to, I listen to Bach, not imitators of Bach and that is because I don't know of any decent Bach imitators.
  12. Regarding style. Shamir is talking about styles and I believe that writing music in the style of Bach makes little sense to me other than study (like Mendelssohn did when he discovered and studied Bach in Leipzig.)
  13. I don't know your level in theory and playing, but you might check partimento and study figured bass if you want to imitate Bach or Mozart. Moreover, I would like to ask you why you want to write like them. Please think about it. Do you want to write like them, because you like their music? I understand that. I would love to write like Bach, but I will never achieve his level, so why would I write like Bach if his music is still better regarding style and quality?
  14. Hello, There is no need to force yourself in finding your voice. Time and experience will lead you any way and the only thing that I consider very important is that you keep exploring new things and expanding your horizon in all possible ways.
  15. Congratulations with this amazing, very inventive composition! The style is original: classical, romantic and some modern touches. I really love the piano writing and the harmonies are beautiful too. The orchestration is very thin, which is a great choice in this case! I can't mention something I don't like about the music! There could be some more articulation markings in the piano part. Of course you still need to look at the lay-out. Very well done, you may be proud!
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