Jump to content


  • Content Count

  • Joined

  • Last visited

  • Days Won


Quinn last won the day on January 4

Quinn had the most liked content!

Community Reputation

47 Excellent


About Quinn

  • Rank
    Intermediate Composer

Profile Information

  • Gender

Recent Profile Visitors

The recent visitors block is disabled and is not being shown to other users.

  1. Honest feedback? Too short to respond to your questionnaire. Game music when the hero is wandering around a town or between towns. Formulaic. Nice sounds though. Were you using loops/presets? A good start but you need to expand on it.
  2. Assuming you aren't using it, have a look at VSL's "Big Bang Orchestra" Black Eye. Looks just up your street, if you don't mind a bit of Lego-styled composing - readymade this and that which could save you huge amounts of time. I'm pretty sure it comes with VSL's synchron player which you'd have to learn to use. It also needs a Vienna License key. There are several demos on the VSL site.
  3. I don't know, It seems to be a term bandied about when someone wants to tie something or someone to the concept of what it would be or contain if thinking about it musically. Only recently was my awareness piqued when one of the Strictly Come Dancing judges claimed that the dancing couple had musicality. I thought what the F does she mean? But a little later someone talked about a painting having musicality. What does THAT mean? Ok, terms are borrowed from one Art to say something about another, implying some kind of synaesthesia but that's all it is - vague...I wouldn't even go to the extent of calling it subjective because it so obviously is. Like, music can be chromatic - chroma = colour; it can be dark or light. A painting can be talked of as tones; loud; soft etc. Similar about writing - a lyrical poet/novelist and somewhere I've seen 'counterpoint' in comments on a writer. So...is it the musicness of something not subject to the consensus definition of music itself? Plain vacuous verbiage, maybe? Yet it can't be dismissed so easily. Some artists seem capable of synaesthesia. Delius and Debussy (inter alia) could 'feel' nature which their inner ears translated into sound/music with some degree of credibility to the western mind at least. But to me, these are more about the whys and wherefores of creating/organising sound than just ascribing 'musicality' to something.
  4. You know what? I reckon you need to move the music from 0'01" to 0'08" to the end, and the third time you repeat it, at c 0'08" when the bass lifts a 3rd, do a similar thing with the strings - then you're ready for something nasty! It's usually tied to some visual tension - Fulci was really good at this in his time... the viewer knows someone is waiting in the shadows and.... Incidentally, Berg did something like this in the close of Lulu (when she's murdered) which until recently, was not directly shown in the Opera.
  5. The phrase in bar 14 wouldn't pose problems as the flute is solo. Nothing else would drown out the flute. As others have said it's weak in it's bottom 4th or 5th and needs very light harmony if an internal part or solo. It can sometimes hold it's own as the lowest note of quiet harmony, as in the last movement of Holst's Planets Suite. Remembering it's a duet it's as much up to the pianist to make adjustments if necessary. So it looks all right to me unless your pianist is a real thumper!
  6. Well, it's nice. Relaxing. Kind of "Mystic Moods" music. You obviously have a command of standard harmonic progression; and cheesy though it might be to some I liked the uplift from C to Dflat. It has a lightening effect. Easy to listen to. No need for analysis from me - the scoring is well balanced, translucent, no point in saying "I would have done (whatever) this way rather than that". Like I might have filled out that D flat section a little more - add voice harmony or something, but no. It's good. If it rains this evening, this is the sort of music I'd love to hear sprawled in front of a fireplace reading or something.
  7. Another very good piece and a contrast to your lullaby. Plenty of energy and lightness here and you obviously have a command of harmony that upholds interest and attention with limited instrumentation. The variety you did introduce came across well and to me the balance is fine. Another good and satisfying ending. I felt a tendency to think of it as music supporting a video of 'work being done', could even be the press/printers at work but it does stand alone well.
  8. Not being a violinist I also take a great interest in the instrument and can see no performance problems with that. I don't think you need to put in bow stroke indications since the phrasing says it all. Altogether a nice piece, lyrical that gives the player a fair scope for expression. I liked the Neapolitan 6th in root position in the harmony although it would have more bite if landing on the dominant! However that wouldn't fit in with the melody. Keeping the piano part simple showcases the violin well. Perhaps 'up' the violin dynamics a level in bars 45 - 48, ending up on an mf in 49 to be sure the piano doesn't drown out those nice detaché notes. [Edit] Just worked out that those high notes would have to be played in 7th position (or I would, anywyay) but they're at a moderate speed and should be possible for a violinist around Grade 6 or 7 (ABRSM grades).[/edit] Well done. (ps I play viola of a standard that I could play that at a 5th lower without trouble.)
  9. Sounds a little over-technical. Why not let people just compose? I'm sure I'm not alone in thinking that if I had to bring technical considerations/analysis into every phrase or note that I wrote then I probably wouldn't bother. Music is dictated by my inner ear. Bodily I'm just its secretary writing it down.
  10. What a lovely relaxed piece. Only problem is it doesn't work as a lullaby. I stayed awake which was worth it to hear that neat ending. I liked the harmony progression very much. Well done.
  11. Given that I've never regarded the arts as sport with winners and losers - competition is a way to participation. It also helps people face the real world where rejection falls upon them from time to time. The composer in me also supports the fear category but I have no fears of composing except drying up when there's a deadline to meet!
  12. It's a very nice piece. I'm not sure which "Grade 3" you're referring to. In the UK we'd think of the ABRSM Grades in which case I'd pitch it at about Grade 5 or 6. But with some good rehearsal it would be a pleasure to play. I can't see any performance problems. Monarcheon has pointed out some details. I won't add to them because if there are problems they'd appear early in rehearsal in time to edit.
  13. It's a good idea to start or join an ensemble. (I play viola (fairly badly) but it's one of those instruments always in demand.) Or get involved in the administration, so you can get to know the people who run the thing then get your things played, limited by the ensemble itself. One tip: be VERY sure of your score, what you want it to sound like - especially if someone else may be conducting it. I've seen too many embarrassing moments where it's obvious that the composer didn't know how their work should be played. As applicable in an ensemble you join as one to whom you've submitted scores if the outfit is prepared to play it. Make a mock-up, get your score and conduct it at home until you know every entry, every nuance, etc. and get some tips on conducting.
  14. Quite a nice sounding work but a little unadventurous with tonality. By 1'00" I was hoping something different would happen but it seemed to peter out. With the clarinet entry at 1'45" I thought 'here we go'. But no, a return to the opening. The second movement lost my attention after the first couple of minutes. Journey of the Andes started lively but at about 7'00 faded out again. At 8'20" it lost me. You missed many chances of changing tonality. It ended with no real climax. I didn't get the feel of the huge openness of mountains at all. Apologies if I wasn't meant to. Can I ask if you did the composing on Sibelius or at a piano? I mean, could you play a short score in some form or another? Don't we just love notation software that won't do exactly as we want? No. I don't. I hate it. I don't use it. And renderings reliant on it never sound convincing. You've got some pretty good sounds out of yours though. By the way, I see that bryla claims you don't need key signatures for horns and trumpets. This is debatable. If the key of the piece were to turn to something like F# major, practically every horn and trumpet note would need an accidental. Many modern atonal works don't use key signatures but that's a different matter. Many classical/romantic composers apply key signatures to these instruments. No comment on how you lay out the score (for me, others are more particular) as long as I know what instrument is playing on what stave. [Edit] It helps to follow convention which you almost do.[/edit] (I always put strings at the top because I like it that way. They're usually more important. It's easy to change order with my daw notation view limited though it otherwise is for those who object. But about the scoring itself, I thought the lower register, especially in the opening (bar 10 on) sounded muddy/thick, quite un-mountain-air-like and noted that you have a) rather a lot of doublings in the lower notes (cello+basson+deep brass) and b) give the basses an independent part which, in context, muffles the harmonic relationships with what's going on above. Given the overall dynamic is quiet, is it worth uncluttering that a little - but hey, it's your work and if that's the effect you want, that's where it's at. I can only comment on my impression. There's also the small point of the triple-stopped pizz cello and violin chords at the opening. I haven't mapped them to check if they're playable but could present problems. The violins for instance: the F# minor triad. How would you do that? Stop the F# on the D string, leave the A string open... then how do you play the C#? You could do it fingering high on the board. Stop the F# on the G string, the C# on the D string and leave the A open. But the next triad, E maj? I can't see how that can be done. As for triple stops arco - they're out of the question altogether. Best to divisi the parts to two for those opening bars. Maybe there's a violinist/cellist here who could comment? .
  15. Sounds early Philip Glass to me. Pretty good except it lost momentum at around 0'27". Probably better to keep the left hand going through to 0'35" approx. As the work is fairly short, development doesn't come into it too much so it would preserve the minimalist feel a little better.
  • Create New...