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Jan-Peter de Jager

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Jan-Peter de Jager last won the day on October 29

Jan-Peter de Jager had the most liked content!

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About Jan-Peter de Jager

  • Rank
    Member
  • Birthday July 7

Profile Information

  • Gender
    Male
  • Location
    Netherlands
  • Interests
    Theology, poetry, philosophy, psychology.
  • Favorite Composers
    Bruckner, Schubert, Rautavaara, Stockhausen, Diepenbrock
  • My Compositional Styles
    Oh dear... I do whatever I like
  • Notation Software/Sequencers
    Finale
  • Instruments Played
    A bit of piano

Recent Profile Visitors

142 profile views
  1. What do you think? And: how can I develop this? Any ideas?
  2. Jan-Peter de Jager

    What are pieces everyone else likes that you don't?

    I don't like Alban Bergs violin concerto... The beginning I find ugly and boring. Just a bad start to begin a violin concerto. Berg never did it for me, none of his works. The strange thing is: I do like avant-garde music. I'm more of a Webern person. I'm neither a great fan of Berio. I should, I know... I like Nono more.
  3. Jan-Peter de Jager

    Little Elegy

    You made me desire a big fat cigar... I like it. The line of the melody wasn't clear to me directly. But after hearing trice this isn't a problem for me anymore. The last chord came as a little surprise. 🙂
  4. Hi all, I try to add the PDF afterwards, it needs to be clean first. And I have it rather performed first... But here is the third part of 'And the ear brought forth'. Hope you like it and let me know. The principle of harmonic shifts is very simple but I think, in it's minimality, it works fine. Any advise is welcome!
  5. Jan-Peter de Jager

    Fantasia

    What a beauty! This lightens up my mood!
  6. Jan-Peter de Jager

    3-4-5 (Mathematics in music)

    I loved it! Why can't it last an hour? I would like to immerse mysel for a long time in this soundworld.
  7. First of all: you compose because you like to. Maybe you even feel some need. That's good enough. It's not about comparing yourself to others, it has no use to think that way. I do know your feeling: I wanted to stop many times. Somehow, also with support of friends, I still compose. I can give you a advice: it sounds like (but correct me if I am wrong) you drop somewhere your initial plan while composing. Maybe you can tell a little more about your composing process? For instance you take a form, do you stick to the initial form no matter what? It is very good method when you isolate a problem like you do. So why don't you make a composition of 30 seconds, concentrating on form. You describe first in a document how you are going to set it up: what is going to happen between 0-30 seconds. Every 10 seconds a change or maybe 30 seconds to a climax or whatever you can think of. And you start to compose following this strictly. You stick to it no matter what. You want to learn about form, not about melody or harmony or dynamics, etcetera. Of course some chosen parameters need to form the form but the form is your primary subject of learning. In this way you learn how to handle one specific parameter so in later pieces you can handle them, make better choices, in combination of other parameters. So, does this help? Or did I advise things you already practice? If this doesn't help maybe you can write about what happens when you can compose, what is the process like? This sheds light on your inner workings. Good luck and keep up the good work!
  8. Jan-Peter de Jager

    Into nothing

    Now I'm here in the process... Let me know what you think.
  9. Jan-Peter de Jager

    How to develop

    First of all I like your material! Lovely feeling... I noticed you have a couple of different elements wich you pose after eachother, pretty much hard-cut. I didn't hear much connection between them. This is not a problem however, yet. I think there are two ways to make a overall overall composition out of it. 1.You make a composition about 'hardcuts' andere constant adding new elements. It Will create a nice 'shockeffect' and a quite ironic one because the themes are lovely andere 'Disneylike'. This is a kind of conceptual unity. In this case you don't have to write a composition that's last very long wich is a good thing of you are a beginner (I don't know where you stand as a composer) 2. Troughout the piece you will develop all the material you posed, combining, dissecting, developing. You should think about the question how long this piece will become after what you already wrote. Where does this lead to in minutes? Myself I think of at least 15 minutes. There are so many ideas already... So then the next step is: hoe do you want to develop the material?
  10. Jan-Peter de Jager

    A Foggy Desolate Town

    I quite like the piece as a beginning of something larger. One of the possibilities is to 1. Add more layers 2. To turn layers on and off. I felt the drums were to much on the foreground, I know tho it can be a thing in a lot of styles. I quite like the twisted way you use the drumgroove. I don't have the problem Monarcheon has as long its a consistent element throughout the whole piece. Find ways to play with this element and you create your own soundworld. I think your in the right track!
  11. So what do you guys think? I'm not sure yet, especcially about the left hand on the piano. Gives a lot of context but not sure if I want this context....... What do I want? I don't know.......
  12. Jan-Peter de Jager

    In this house we eat toddlers

    @pateceramics: thank you for your kind words! Nice to hear what you think while your listening. I think the music is open for all kinds of interpretation, I like to hint more on a meaning and storyline then write programmatic music. i like when people use their own fantasy like you did. Good to hear!
  13. Jan-Peter de Jager

    "The factory"

    First of all, I like the piece! That said I don't see how minimalist techniques can create chaos and how factory is connected to chaos. I think factory work is pretty darn organised, wich I hear in your music. Can you explain? Or was it a ironic use of the word? It would be a quite interesting survey how a composer can create chaos out of minimalistic techniques in a composition! I get inspiration from you 🙂
  14. A little piece (3:00) by me for ensemble. The title came from my irritation on these boards in homes with text like 'In this house we are real, we make mistakes, we say I'm sorry, we forgive' etcetera. Terribly sentimental in my opinion. The attached score is in concert pitch! The conducter of the ensemble liked it that way. I hope you enjoy! And like to hear from you...
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