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Sean Brown

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About Sean Brown

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  • Birthday 12/12/2000

Profile Information

  • Gender
  • Location
    Pennsylvania, USA
  • Favorite Composers
    Paganini, Tchaikovsky, Beethoven, Prokofiev, Roman Kim
  • My Compositional Styles
    Romantic, Classical
  • Notation Software/Sequencers
    Finale 2014.5
  • Instruments Played

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  1. I wish this piece were longer! It deserves an expanded treatment. I'd totally play this myself if it were more substantial.
  2. I once wrote a theme and variations in which variation 1 was composed before the theme and I just radically simplified it to make a theme out of it. To be honest, your little excerpt there seems reasonable even for a variation 1. Also, going forward, variation doesn't always have to equal increased complexity. You can vary the orchestration, texture, throw some rests in there, change the rhythm, etc. Some of these changes could even be relatively "simplifying", so to speak, in that the sheer number of notes is reduced.
  3. A piece I composed a while ago, but thought to share. I wrote this in response to a Reddit challenge to write a piece in a mode other than major/minor, and I chose to try Phrygian, but in practice it more or less turned into regular minor with the occasional lowered second. Nonetheless I'm proud of how the piece turned out.
  4. It just feels a little bit... meandering to me. The violin writing is virtuosic enough, and as a violinist myself I appreciate being given a nice technical challenge in a concerto. But perhaps it's a bit much for a slow movement? And it also feels like it lacks direction -- it kind of gives the feeling of just showing off for showing off's sake at times. You have some great melodic ideas, but they're usually best expressed in your orchestration instead of the solo line, which is unfortunate. Maybe the solo line just sounds bad in the computer recording -- that's always possible, so that a human player doing this could add some nice expression, phrasing, and direction to the line. But my instincts tell me that's not really the case. The orchestration also feels unduly thick in some places, and liable to cover up the soloist. A soloist can't really compete even against a partial tutti. I had issues projecting successfully over the orchestra when I soloed on the Kabalevsky concerto a few years ago myself, and compared to this, Kabalevsky's orchestral parts are rather sparse -- and they're still borderline too heavy.
  5. There are a number of moments which are a bit unclear from the orchestra -- the rehearsal time we had on this piece was barely enough to make it work at all, to be honest. A number of woodwind and brass moments which either weren't played particularly loudly or might have been missed entirely by an inattentive/lost player. If you listen really carefully you may be able to pick some of them out, though I'm not entirely convinced they did all happen. That's part of why I made the orchestral parts as simple as possible -- it's a high school orchestra, and if you make the parts too interesting, you just make available more ways to go wrong. That, and I was also going for a very Paganini-esque style, and his orchestral parts aren't particularly exciting, either.
  6. This is a performance I just gave of the piece with my high school orchestra: And the obligatory score (just a piano reduction because it's easier to read) : https://drive.google.com/file/d/166yyh__ZEkvhzNKS5EgaMJU7CSHu5LyE/view
  7. I arranged this (with permission) from a piece a friend of mine wrote for solo piano.
  8. I wrote this a few years ago and I still think it's one of my best works. I initially planned on writing a symphony, but I ran into writers block during the 2nd movement and decided to just release movement 1 as a standalone overture. (I eventually did complete a full 4-movement symphony a few months ago, but not based at all on this material, nor in the same key.)
  9. I composed this little rondo for solo piano. It has intentionally simplistic harmony and starts quietly and plainly, but by the end it's fiery and dramatic. It is in the form A-B-A-C-A-Coda.
  10. I used Finale, plus the included Garritan sounds. The instrumentation is 3-3-3-2/4-2-3-1/Timpani/Strings.
  11. I do write in Finale, but I figured putting a several-dozen-staff score on screen probably would make it impossible to read. I used graphical score because I felt it would condense the information and be easier to understand. I don't know about you, but I've been a huge fan of Stephen Malinowski's (smalin) graphical scores for years.
  12. I ended in F# minor because based on what I've seen, every time liberty is reclaimed, it slips away again. I'm getting a bit political here, but that's my perspective, and that's why I ended it pessimistically. Thanks for the specific feedback -- I that lets me know you listened to the whole thing, which definitely makes me happy. :) I'm still working on my harmony and development skills.
  13. My first attempt at a symphony, as well as my first post on this site. Hello everyone! It's only about 21 minutes -- I'm definitely not yet at the skill level required to write an hour-long piece -- but it does qualify as a four-movement symphony. This took me about 5 months to write from beginning to end. The last movement borrows no less than 4 different themes, all from different works. Three of these are somewhat obscure national anthems; the other I think you'll have no trouble recognizing.
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