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About AmareAppogiature

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  • Biography
    I am probably as far as it gets from being a professional musician, but I've always loved music and in the last couple of years have been trying put serious time into it despite being rather swamped with senior year as an engineering major. I have a lot to learn, but every journey starts with a single step. Please be as critical as you like, and thanks for stopping by.
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  • Favorite Composers
    Beethoven, Vaughan Williams, Durufle, Chopin, Debussy
  • Notation Software/Sequencers
  • Instruments Played
    Piano, Guitar

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  1. I really appreciate the feedback! I definitely see what you're saying in the Kyrie. I was trying to intentionally add dissonance to build tension in the middle part. Ending on the dominant was meant to be a direct lead-in to the Gloria, as generally in a Mass the two parts are back to back. I know I have a long way to come as far as weeding out simple issues like the whole leading tone thing in the last movement. Thanks again for taking the time to look at my work and give me some advice and in-depth feedback! It really means a lot.
  2. Hi all! I have finished the Mass that I started composing in June (I had a rather hectic summer, so not much time to write). The first two movements (Kyrie and Gloria) are reposted with some minor modifications from them, but I wanted to put them here so that everything's in one place. Please let me know what you think! Thanks! Mass_in_D - Kyrie.pdf Mass_in_D - Gloria.pdf Mass_in_D Sanctus.pdf Mass_in_D Agnus Dei.pdf 01 Kyrie.mp3 02 Gloria.mp3 03 Sanctus.mp3 04 Agnus Dei.mp3
  3. Thanks for the feedback, I'm glad you enjoyed it! I'll definitely keep that in mind concerning the orchestration toward the end.
  4. Thanks very much, I'm glad you liked it! MuseScore definitely leaves a lot to be desired with the rendering unfortunately :/ hopefully I'll be able to invest in some better software soon.
  5. The second movement of the Mass. When I finish the remaining parts I'll post them all together, but I was eager to post this part. I was a little unsure what key signature to choose...I know that's a really basic thing but the tonic in the beginning is A, so ostensibly it should be there, however leaving it in D (which the score is in) results in less accidentals...so when there's already a lot of modulation in the piece is it better to minimize accidentals or pick the key signature which makes the most sense musically? Any comments and feedback are welcome. Thanks for listening! Mass_in_D - Gloria.mp3Mass_in_D - Gloria.pdf
  6. This is a work in progress: the first installment of a Mass I'm writing for chorus and chamber orchestra. Please let me know what you think!Mass_in_D - Kyrie.pdfMass_in_D - Kyrie.mp3
  7. Thanks for the feedback! I use MuseScore so the playback and sampling options are pretty limited unfortunately which might contribute to how sudden the change to piano in the intro sounds but it could probably still use some work regardless.
  8. Ok...I'll try and spend some time reworking it with those things in mind then. Thanks again!
  9. My freshman year of college I was a sadly mediocre third clarinet player in my school's marching band, which honestly is pretty mediocre in itself. Anyhow, we we performing an arrangement of Taps and Eternal Father and during the beautifully orchestrated tutti chord at the end I had one of those wonderful reed malfunctions that mediocre clarinet players are prone to have...it was not a good day. I've since moved on to be playing glockenspiel or being drum major.
  10. That makes sense. My thought was that I've seen a lot of instances that indicate a tremolo when the same note is simply to be repeated in a measure at a specified rhythm without being a true string tremolo, such as in the last measure below (from the 2nd movement of Beethoven's 5th), but what you said makes more sense. Thanks for the advice!
  11. Suppose you are writing a string part in 4/4. You want them to play a 16th tremolo but in triplets. How would you score that? It seems to me that there are four possibilities. You could switch to 12/8 but that would mess up the tempo because a quarter note would be the same value as a dotted quarter note. You could make triplets with a dotted quarter note, triplets with 3 eighth notes, or simply write out all the 16th notes, but all of these seem a little weird to me. I'd much appreciate the input from those more knowledgeable than I.. Thanks!
  12. Thanks for the critique. I was able to have it performed at school and there were definitely issues with breathing and worn out chops especially for the trumpet and first horn players. By underdeveloped do you mean there should be a greater degree of variation on the initial theme, or that it needs work harmonically, or both? I feel like neither would go amiss.
  13. Thanks, I'm glad you liked it! Would there be anything in particular you'd suggest to develop it further?
  14. Here is a little piano piece I wrote today. I'd say it's an impressionistic piece but I'm not sure how to strictly categorize it. In real life it would be played with a good deal of rubato but such are the limitations of computer playback. Any feedback or comments are welcome. Thanks for listening! Larghetto_for_Piano.pdfLarghetto_for_Piano.mp3
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