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About Samtaylor

  • Rank
  • Birthday 07/21/1999

Profile Information

  • Biography
    I'm a Student in High School wishing to learn to write music from a professional and write contemporary music.
  • Gender
  • Location
    New York
  • Occupation
  • Interests
    Woodworking, painting, music
  • Favorite Composers
    W.A.Mozart, Gershwin, Chopin, Wagner, Rossano Galente, David Maslanka, Frank Techelli
  • My Compositional Styles
    Diatonic, contrapunctal
  • Notation Software/Sequencers
    Musescore, Finale notepad
  • Instruments Played
    Trumpet, Piano, Organ, Cello

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  1. Thanks for your feedback! @maestrowick I have fixed some things since this version. I have switched some of the mechanical things (incorrect beaming and such) I have fixed the Violins crossing in the first 6 bars. M.33 has been switched to a triplet. I'm not sure if i'd really want to add more to the piece. I feel it's a nice short piece and I fear if I add more it'll start to drag on. @Monarcheon I am at a loss of what to do with your feedback. I have a melody that doesn't resolve correctly, but it's the way I hear it and like it in my head. therefore, I ask a question to you; How would you go about fixing this? would you change the melody or the chord changes? Or perhaps there is something else that I am not aware could be done.
  2. Oh yeah I mean. the range wouldn't be the problem id be they dynamics. most trumpet players in high school can get a C above the staff (Bb concert) however when writing for drum corps and jazz bands double C's aren't uncommon at all. I'm a senior in high school and I can play a G above high C. writing for inexperienced players is a bit of a task but if they can play it, anyone can.
  3. I think it's a very nice quartet. It's not a tradition quartet (those have two trumpets instead of two trombones). The last note may be a problem for the trumpet player. The high A on a trumpet has a tendency to run high and especially after sustaining for a bit. In saying that, it's possible. It'd be nice to hear it with a real quartet.
  4. So this is a piece that was originally going to be for string quartet. An opportunity came up to read it through with a string Orchestra and so I wanted to rewrite it for string orchestra. This piece in not long, and it's not difficult. I wanted to capture the emotion of missing someone you've lost and coming to peace with closure. Please tell me what you think of it. Any suggestions and comments would be appreciated ~Sam
  5. It reminds me of what you might hear at a fancy restaurant with a grand piano. really cool. Might be cool to write it out for a jazz band. At the end i want to hear like. a 15th chord. but it's really cool nonetheless.
  6. I've been writing a lot of music recently and trying to finish pieces and to fully orchestrate them and to give them a little "oomph". I've run into the problem of having different melodies and different keys and everything has little development. It was suggest to me by my father I look at some of those binary form, renaissance or medieval pieces that have the same moldy twice, and the second time is embellished by the performer. From looking at my own work I have come to the conclusion that I need to work on how I develop ideas/melodies/ etc. I know that symphonies and fugues and different forms of music have a development section but I don't know how to take a melody and elaborate it, take it somewhere. make it more than a radio jiggle. Thank! ~Sam
  7. Bassoon and Bassoon. not sure how that will work.
  8. John Mackey write on his blog a post about this topic (http://ostimusic.com/blog/writing-for-young-band/). I feel that what he has to say about this topic is going to be a little more helpful than i can contribute myself.
  9. The soprano fix is not a bad idea, unless there is an underlying reason. other than that. the sixteenth notes in the 19th bar. i thought they sounded fine, but in actual performance some choirs might have trouble. but in saying that, it's more pertinent to a performance rather than composition. i wasn't sure if the slurs were a madrigal way of notation. but if you mean to notate it in a way more people might recognize, it might be fine to just use one slur when sluing 3 notes instead of 2 slurs. that. might be confusing. but yeah. other than that it sounds fine. My choir director, when ever we sing a madrigal, always tells us it's a conversation. traditional sing in a quartet. might mean something to you, might not.
  10. Thanks! I don't think it's too harsh actually. it's very informative. I and very humbled that anyone would even take the time to go through this and call out the things that maybe be a little weird. And the lists help a lot!
  11. Yeah. i apparently need to. so many careless mistakes i didn't even think to correct.
  12. Something about the first chord of the second full measure just. it's. ugh. I almost want it to last a little longer. to fully bloom. to captivate more. i was shocked at how short the piece was but at the same time felt that it needed to be that way. The eight note pulse almost trudged along. i found myself wanting a few counter melodies here and there, however the soloist is. damn. she's good. those intervals and rhythms are something that i don't normally see. so I can understand the need for that pulse to be there. I am shocked that this took you for hours. truly. if i even tried to match this style and mood it would take me days. weeks even. but that's just the thing. it's weird. no. surprising to feel the emotion in the piece. first measure boom; it;s there. and it wanders and talks with it's self. When you get to the second fermata i melted again. that just. it's like that natural crunch that just makes you all warm and tingly. maybe that's just me. i'm in admiration of this piece. Wonderful job. Thank's for inspiring me.
  13. This is an edit I did to a piece I wrote for school. I wanted something a little more professional sounding and not so humorous. I added a prelude to the fugue to give it some length and more opportunity to show my writing. I plan to use this as part of my portfolio for college, so any suggestions are welcome. Doesn't have to be about the piece, could be about what else to include in the portfolio. Sheet music is also available to see any engraving issues. There's probably a lot.
  14. Whenever I'm writing something and I do a PAC (perfect authentic Cadence) (( V7 - I with leading tone in soprano)) I always have trouble finding what comes next. it's such a ultimate sound. what I want to know is what, "Y'all" do to maybe add on to the piece after a cadence. Something like a key change or a new phase or what ever. and if it's a key change i'm curious to hear what common modulations are. As in a tonal shift ( and by what scale degree) or a common tone or pivot. Thanks!
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