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Some Guy That writes Music

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Some Guy That writes Music last won the day on May 12

Some Guy That writes Music had the most liked content!

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15 Good

About Some Guy That writes Music

  • Rank
    Intermediate Composer
  • Birthday 10/21/2002

Profile Information

  • Biography
    Hi
  • Gender
    Male
  • Location
    I live right there. *Points at map*
  • Occupation
    Going to high school
  • Interests
    stuff
  • Favorite Composers
    I'M UNEDUCATED! I'LL JUST SAY SLAYER.
  • My Compositional Styles
    do-do-do-do is my favorite
  • Notation Software/Sequencers
    Finale (I'm a spoiled brat)
  • Instruments Played
    Baritone (Singer)

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  1. If someone wants to review it, I’d gladly let them. The song it’s self definitely isn’t a race.
  2. In my growing frustration about the deforestation world wide, I decided to basically write about how I feel. I'm thinking about animating a piece along with this to show what I'm thinking with each part. But in general, it's imaging the deforestation, and the fight between those who try to stop it and those who try and continue it.
  3. For a first piece, this is REALLY good. I have to say, even though I'm not a pianist myself, this is a good piano accompaniment. There's a couple things that I think you might want to look over. Most noticeable was the way you wrote down the lyrics. With words that normally have 1 syllable you wrote down two. Look at m. 10, the alto has na-me written down. As long as you make it clear, with either a slur or assumption, you can leave it as one word (like you did with 'mine' on m.12). By separating it into two parts a conductor might interpret it as 'name' and then hold 'm'. If you wanted the altos to hold the 'm', you might want to write a note in parenthesis after the 'me' part of 'name' and say "(Hold mmm)". Basically don't split up syllables where you don't do it where you speak. Second thing that I saw was the dynamics. The first time you introduce your sopranos, they're at pianissimo. Which is normally fine, but singing up to the E could sometimes be trouble. Trouble would be more likely with the tenors and their G on the pianississmo. at m.17-20. Most tenors of even high skill levels would say "Why does this Ruth dude hate me?". I think the sounds at those measures are gorgeous and I love what you did with it, but it a little high for the dynamic choice. Maybe a crescendo in the Soprano and alto leading up to the introduction of the Bass and Tenor? Loved every moment when you had duets between parts. I also love many of your suspensions, like m. 56 and m.60. One thing about ranges. on m.60, you have altos singing an E, which is out of many normal choirs alto range. It's not that they can't sing it, it's just they don't want to. I'd just move that E-D to the soprano 2 instead of Alto 1. m.35, a courtesy sharp in the bass would be appreciated (in this case with or without parenthesis would be fine). I think in a future pieces you should be mindful of the capabilities of the limitations of the different voices. As well as being more thoughtful to not give skips between phrases (like you do with the bass, poor guys). You have a couple points where you go to these beautiful chords but some voices are getting their notes from nowhere. I don't think you should worry about that aspect for this piece, as it's something that is meant in the early process and is mostly a hassle to fix. I really loved how you solidified the key. That's what makes this so great at times. Somehow there is a fantastic consistency that you've managed. It seems you planned this piece out before you wrote it. And it worked out quite well.
  4. I wrote the majority of this song in the last 2 classes of my AP music theory class. I hope you enjoy. There isn't anything about this that I'm super unsure about. I feel like the nature in eternity part could be better, but I in general don't want to mess with it too much because I like chords, and it's either trash the whole section or nothing rn.
  5. I love it, you've got some fantastic ideas. I loved where you moved to the thick chords, it mesmerizing. One thing I liked especially was your miserere, it's quite interesting. There are a couple things I'm not sure about. My first thing is that you have the sopranos singing high Fs, Gs, and As softly. This is pretty risky, firstly not a lot of sopranos like doing that, secondly musical directors like it even less when their sopranos have to that (in a piece like yours where everyone has an important part of the chord). When it's just the sopranos and altos, I find it less interesting, like on m. 35 and 36. That miserere feels like it could be better, but I'm not entirely sure if I should give my personal insight on that, because it might just be a me thing. m.28-30, I don't think that Bass 1 part is necessary, I think it'd be better in the tenor part. Especially with how important that Bass 2 part is in that series of chords. Also for your cadences at the ends of phrases, you don't need to put a fermata over each chord, I know you might be doing it for playback but ti doesn't hurt to mention. Putting a rall. says the same thing. I think this is a nice sounding piece, with some great parts, and couple parts that need that flat iron finish.
  6. Wow, this song has changed quite a bit since the last time I heard it. To be honest the first time I heard it I clicked off of it cause it bored me. But this version is really good. I listened through the whole thing, and afterwards checked that great summary before the piece. I can tell that this is a meaningful piece to you, not just by how much you say you worked, but by how beautiful it is. Even though this is just a crappy midi voice, reading along to your music gave me chills. Its a pretty heartbreaking piece to read, and the piano complements it so well. I just want to say bravo, you need to either perform this piece yourself or find someone who will.
  7. I think it sounds great, and any intermediate to good choir could sing this well. One things I'd be aware about is overusing dynamics. I can understand giving specific dynamics to have the computer sing it the way you want it performed, but there's a lot of clutter that would get in the way of singing the music. I think the best course of action would be to simplify the dynamics. Or leave it more to the interpretation of the choir director.
  8. I'm not used to writing for Brass, so this was more of a fun experiment with the Trombone's. There's plenty of really hard parts in this song, but it's more for fun than anything else. I didn't quite plan well enough for the limitations of a trombone, and at times I go a bit too fast, high and low I think.
  9. I enjoy it quite a lot, but I feel like the climax of song simply wasn't as long enough as it could've been, before you even realize how awesome it is, it's gone. It's quite beautifully done, but was simply lacking a "click" for me. I don't think it's major enough for you to go out and fix it though, being as it's length fits the form of your music. But in the future, be aware it might happen again.
  10. There was two reason, I wanted both the first and second beat to be nearly equal, and second, I wanted beat 3 to lead into beat one, sort’of like a cresc on each measure. I felt like if I notated it otherwise it wouldn’t send the same message, and choir directors would assume it’s a bit more boring that it is.
  11. I mistyped and actually meant m. 7. And those extra part in the piano were also errors. I guess I didn’t notice them. Thanks for your time
  12. I decided to go onto cpdl.org today for the first time, I was so overwhelmed by shear amount of texts available, which was nice since I had been struggling to find a text to write for. Well I found this one, and it was pleasing to read so I decided to make a (hopefully) pleasing to listen to piece. Its a pretty simple melody, but the harmonies get a little interesting at times. When judging my piece, if you could have a focus on, my harmonies and how effective they are, whether or not my bass part at 22-25 is too difficult for such a simple piece, if the tenor and bass crossing on measure 7 is acceptable and also if my piano reduction is good the way it is rn. Feel free to mention anything else you feel like, I wanted to set a guide on things I'm not certain about in this piece.
  13. As a learning composer, what is the true difference in writing for a quintet, a string orchestra, and full-blown orchestra. What is the difference in writing styles for the 3? I'm asking this because I feel like I'm not using the full potential of all the instrument (I'm writing a Requiem mass, and paused it so I could learn more about how to write). I was part of a group a few weeks ago. We had a full 200 persons chorus with a full orchestra. And It was riveting, and it left me wondering, how can I do something as powerful with my own writing. All-though I have a boat-load to learn in simple 2-part and 3-part and 4-part, I also want to have some fun. And writing a practice orchestral piece is next on my list. What is the order I should plan/create my music in. What specific techniques are useful for orchestral writing. How can I be like the cool kids with their orchestral pieces.
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