Jump to content

Maarten Bauer

  • Content Count

  • Joined

  • Last visited

  • Days Won


Maarten Bauer last won the day on October 31 2018

Maarten Bauer had the most liked content!

Community Reputation

176 Excellent

About Maarten Bauer

  • Rank
    Seasoned Composer
  • Birthday 05/02/2000

Profile Information

  • Biography
    Dutch composer, who is currently studying at the Royal Conservatoire in The Hague.
  • Gender
  • Location
    The Netherlands
  • Occupation
  • 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

8,566 profile views
  1. @Danielcomposer is right and I find it a pity that nobody could explain it before him. There is, however, more on the Moll-Dur andn because there is a clear definition online, I simply copy this. Wikipedia (n.d.) (Dutch) https://nl.wikipedia.org/wiki/Cadens_(muziektheorie) Cadensen kunnen ook worden uitgebreid door gebruik te maken van akkoorden die niet in de originele toonaard staan, maar wel een logische progressie vormen. Hierbij zijn twee soorten ‘geleende’ akkoorden mogelijk, namelijk Moll-Dur en verlaagde akkoorden. Moll-Dur-akkoorden zijn mineurakkoorden die voorkomen in de mineurtoonaard van dezelfde tonica. Zo is in C-groot de Moll-Dur van F Fm en van Dm Dm b 5 {\displaystyle ^{b}5} . Moll-Dur wordt aangegeven door achter het trapsymbool de letters MD te zetten. Uiteraard is dit ook omkeerbaar voor mineur. Een majeurakkoord waar eigenlijk een mineur zou moeten komen wordt als Dur-Moll benoemd. Voorbeeld: IV - IVMD - I, wat in C-groot de volgende progressie oplevert: F - Fm - C (plagaal). TRANSLATION Cadences can also be extended by using chords not belonging to the original tonality, but do form a logical chord progression. Two species of 'borrowed' chords are possible, namely Moll-Dur and lowered chords. Moll-dur-chords are minor chords that appear in the minor tonality of the same tonic. In C major the Moll-Dur of F major is F minor and of D minor Dm b 5 {\displaystyle ^{b}5} . Moll-Dur can be written by using the scale degree and the letter MD. Of course it is also reversable for minor. A chord that is majob, but would actually have been minor is called a Dur-Moll. Example: IV - IVMD - I, which in C major gives the following progression: F - Fm - C (plagal) i.d. minor plagal cadence
  2. I listened to the first movement. I like it overall. Nice counterpoint and logical harmonies. What I personnally find is that the music is nice to listen to, but not really interesting. This could be due to the many sequences and it is hard to keep my attention, since there are so many repetitions even when you develop the material. Your inspirations are more than evident, but can I compare you then with the maestri from (more than) a century ago? The last three chords sounded very unnecessary to me. The arc of the piece is nice though.
  3. Thank you for the thoughts! I really want the piece to be free: the final result is in the hands of the performers. I know that it is very hard tp get it in synch, but I do not want to have it in synch. I know the performers really well, so we will be experimenting with it!
  4. Hoi David, Do you maybe have a score of the music? It's easier to review that way.
  5. Overall nicely done, you apply traditional contrapuntal and harmonical rules in a good way and some more extended harmonies make the music more pleasing. It needs them to be interesting enough, because there are so many repetitions. The only critique that I have is that the rondo, which is based on repetitions, is too repetitive in my opinion. The repetitions could have more variation to improve the music, because now it sounds like you are really over-doing repetitions.
  6. After reading these wonderful, inspiring, but also important well-thought and well-based opinion, it is time for my own thoughts. 🙂 When I think about originality I do not immediately think of musical styles or creating your own voice. I see originality rather as the capability to solve problems and enigmas in a way that it is not (partly) done yet. So, there must exist something before you can apply originality. There must be an issue to be solved before it can be solved. In other words, we need already existing 'formats' to be original. I am not saying that we should stay within these existing formats, we should push the bounderies of these instead. To clarify: Already existing format Western functional tonal system, i.e. scales, chords, progressions Applying originality We could look at how we can manipulate this western, traditional system into an original system, which sounds new, but is still linked to the pre-original issue. I am doing something like this with pentatonic music. I ''invent'' my own tonality for a piece and then I stick with this. It gives me the feeling that I am building my own world. Listen here for the result: I don't have enough time to discuss the other questions, but I will answer them! 🙂
  7. Thanks for your thoughts! I put the resulting note in the artificial harmonics to make sure they hit the right note, but you think that it is obvious enough with the two bottom notes? About the breaks, in the outer sections they are the way I want them, but I left the pauses now like this in the middle, because I want to look how it turns out in practice. I must say though that I also found the breaks in that section quite disturbing... Certainly not done with that.
  8. ''Gefunden'' for Violoncello & Piano is inspired by Kurtágs chamber music next to the poem ''Gefunden'' by Goethe. I am very curious what you think of the music and the notation. Since this year I have been experimenting with different ways of notating and giving freedom to musicians so that the musicians are in a way also composing the music. Unfortunately, but obviously, the playback does not interpret the music the way I want it to be interpreted, but the audio gives an idea. I hope to record it in the coming months in a church. Best regards, Maarten Bauer
  9. Nice joyful pieces! I think that you can work on patterns in the left hand. Maybe some more interaction between the two hands.
  10. Good that you found a possibility. Your doubts about your music are completely understandable. Everybody, even professional composers are still unsure about their music. So let this not prevent you from asking for feedback, because feedback can teach you even more than learning just rules and theory and applying it. This website is meant to give and receive feedback, so you are at the right place. I do recommend to upload the scores next to the audio. Best wishes back!
  11. Hi, I am going to be honest. Seeing the instrumentation, I personally think that you can search and wait very long without results for competitions that feature this specific ensemble. Firstly, the panflute, acoustic guitar, and plucked bass are not normal in symphonic orchestras, secondly the piano, harp and solo strings can also cause a problem in availability. I don't understand what you want with the strings. Do you mean this? Violin solo 1 Violin solo 2 Violins I Violins II No violas? Cellos div. in 1 & 2 Plucked bass is double bass? The music is nice and if you really want to use this piece as a commission for a competition you could either look for your own musicians, which will create loads of work for you, or arrange it for the instrumentation that competitions ask for.
  12. The romantic 'era' indeed turned the complete view on art and music more specifically. The associations we have nowadays with terms like 'talent', 'genius' and 'originality' etc. all derive from romanticism. I am very aware of this and because the romantic meaning of originality is roughly the contemporary meaning (at least in Dutch conservertoires) too, I was concentrating on the the questions above. I am considered one of the most conservatives in the conservatoire, since I want to be original by using traditions in a way that feels natural, yet inventive to me. Thanks for this great addition! 🙂
  13. Nice to write with you again. If you need some help with theory, send me a private message. Theory is a crucial thing. Scores are as important as the music itself, never underestimate the (anti-) power of the sheet music. I will take a look at the score when I am browsing on my laptop.
  14. Hello everybody, Currently I am studying at the Royal Conservatoire in The Hague (NL) and by far the most discussed topic in the classes, breaks, meetings and even parties is originality. In my opinion this is the most important question to all composers regardless the answers. That is why I would like to open a discussion on the following question: What defines originality? Are you writing (tonal) music in the style of... and is that original enough? Or is originality creating something that is not done before yet? Then, the core question is the following: How original do we need to be in our music? Or instead of "do we need to be" we could use "should we be" Consider the goals that you want your music to have: Do you want to reach a big audience? Or do you want to revolutionize music? Or are you looking for a bridge between more popular and avant-garde styles? Taking it to a personal, self-reflecting level: What defines YOUR originality? Do you think that you have you 'own voice'? Or is it more a combination of different styles that make it sound like a new style, thus 'your style'? Since this forum is called "Young Composers" and focusses, in my opinion, a lot on the educational, learning and feedback process of composers, I think that this discussion is a MUST . Therefore, I ask you all, dear composers, to share your opinions, views, experiences and knowledge in this topic and if you do not want to write about it, please think about it yourself! My warmest regards, Maarten Bauer
  15. Best Mark, Congratulations! I like it. Nice proportions, well-established harmonies and the orchestrations works well. To give you further feedback, I would like to see the score! Once again, congrats!
  • Create New...