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Quinn

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Quinn last won the day on March 22

Quinn had the most liked content!

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About Quinn

  • Rank
    Advanced Composer

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  • Gender
    NA
  • Location
    UK
  • Interests
    Model making, Zumba, Electronics (design), playing music, hugely inspired by Stephane Mallarmé
  • Favorite Composers
    Bruckner, Elisabeth Lutyens, Searle, Peter Mennin, Villa-Lobos
  • My Compositional Styles
    Eclectic - mainly impressionist and/or atonal, sometimes light (tonal) music, will put my hand to anything that might be paid for or mentions on credits.
  • Instruments Played
    (Adequate) Piano, Viola; (inadequate) oboe, horn.

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  1. Ok. I sent my ideas to Left Unexplained. Hope they get passed on.
  2. So....who is involved in organising this, doing what?
  3. Great advice. The clarinet is capable of enormous expression and my feelings about this piece were that it doesn't really explore what the clarinet can do. It could get considerably more adventurous. I wrote one; may just post it. So, a nice enough piece but let the next one explore more of the timbral and performance possibilities of this instrument. .
  4. Could be problematic because oriental music doesn't follow western form. Its relevance in Chinese culture is less significant than "classical music" in ours because it rarely featured in religious ceremony. Of course, recent Chinese composers have tapped into western resources. i seriously doubt you could extend that tune to a few minutes without it getting boring. But...why not listen to a few tracks of traditional Chinese opera? Absorb it. It'll suggest harmonies that you can tap into. Do a google search on Chinese opera and click on videos. Some will sound strange and alien (because they are, to us) but bear with it and see what you can find. You could also try looking up music for erhu, guzheng, pipa (a kind of lute thing). There's quite a lot about that could help with form. Here's a nice guzheng piece:
  5. Yes, perhaps I was being a little precipitative there. Apologies. As Ken320 says, it happens perhaps too often. Lesson for me is allow just a little more time before "giving up" 🙂 It's a question of fitting in a visit here to listen to what others are doing between instrument practice, playing, composing and that dreaded stuff called "work".
  6. Probably best to go with what sounds best then work out the theory later (in case the situation crops up again). Composers will have done their work for theory to exist. Theory for its own sake is a solution going around looking for a problem.
  7. I'm happy to edit my comment to remove any confusion.
  8. I see you're taking the p---. I was trying to help. If you don't want constructive comment probably best not to post here and ask what people think.
  9. My comments are that in the first couple of minutes the dynamics of neither oboe nor accompaniment varied at all so it sounded more like a harmonium. The piece has scope for enormous dynamic variation that would give it expression. And... the harmony doesn't vary at the command of the melody. It could be you wanted it like this, in which case pse disregard my comment. It may be worth looking at what triads/chords could fit the melody to give it greater expression - more in keeping with CPP as it's a tonal piece. It certainly has potential but needs more work. Apologies for the loss in translation.
  10. It's why I just said care is needed. There are exceptions to all the rules. If you're writing classical CPP stuff, it may be best to write the strings in 4 part harmony like "the greats" did, with the DB double the cellos at the octave down - sometimes exactly, sometimes pizz or rhythmically broken up but still following the cello part. As things developed the DB has been given greater independence. As you spotted it all depends on chord layout too. There are times when you want a dense thick sound in the bass and the process is as applicable to brass and w/w as strings. E.g unless it's a featured solo, composers rarely give the double bassoon an independent part but if you wanted a grumbly, threatening effect, primeval things creeping up out of the swamp! that might just be the thing to do. Ordinarily, if you want clear sounding chords and harmony you put the big gaps at the bottom and follow rules like don't double the 3rd if you can help it (except Va to VIa) (aside from the doubling of cellos and basses. After all, that's a reinforcement issue rather than timbral.) Anyway I've already commented on this person's efforts several times with no acknowledgement or thanks when I really should be putting time in on a project even if stalled by this latest virus thing) so I won't be commenting again. This composer has all the hallmarks of someone trying to orchestrate with almost no study of orchestral writing. Rather than churning out more stuff her/his time would be better spent studying a Beethoven Symphony score. I'd recommend his 3rd or 4th Symphony - the latter, peculiar for several reasons.
  11. Ok, I've said this in response to another of your pieces, take great care if you give the double basses an independent line in a tonal work of this kind. It's going to make the bass sound muddy. The solution is to rewrite the string harmony with the cello playing the bass line. Then you can double it with the basses playing pizz - not just on the first beat; sometimes the 1st and 3rd beat, sometimes the 1st 2nd and 3rd. There are lots of things you could do with the bass line though.
  12. Firstly, congratulations on putting a work of this scale together that is likeable and listenable. The score as presented was fine though a many-staved score on a small screen is always a problem. (I'm always in 2 minds about offering a score anyway.) Your instrumentation is pretty good in all respects than the strings. You need to think about the string writing. Aside from any stylistic issues, the scoring is too dense and bottom heavy. In part this is because you’ve given the double basses an independent part and it’s often too close to the cellos, hence sounding thick. This may be exactly the effect you want in which case please disregard these comments. The piece is fairly tonal or modal so it’s worth thinking of rewriting the strings in 4-part harmony. I’m not one for following the rules of CPP myself but if there are things I learned they are discipline and good musical taste – the musical taste angle is how those rules came into being. They started as guidelines and still are. I’m not saying my music always sounds in good musical taste – most of it probably doesn’t – but I’m in control. I know what I want and how to achieve it. It’s something you’d acquire at college. Let the double basses double the cellos if they’re playing at all. You may not need the heaviness all the time so it wouldn’t hurt to leave them out here and there. Put the big spaces in the chord layout toward the bottom. (Of course, a dense bass can be quite effective when used properly, i.e. for atmospheric evocation but for symphonic, melody supporting accompaniment care is needed. Next, be more critical about dynamics. They lend expression to the piece and a good number of crescs and dims are always a good sign! If you need to emphasise an entry or line, mark it louder than the rest. The same dynamic throughout the kind of string accompaniment you've written gives it the sound of what's sometimes called the organ effect. (Winds are usually ok when treated as solos (like, not just doubling the strings for reinforcement)). Most of your woodwinds are effectively solos accompanied by the strings and they're pretty good. I think Jean has already suggested trying something less concentrated and ambitious. I’d suggest a string quartet….doesn’t have to be bravura or complicated, just to help sort out your string ensemble writing. You'll have to get a portfolio together for college anyway. All the same, well done.
  13. So accomplished a composition; easy to listen to, exuberant, bright and positive energy....I'm hardly in a position to comment. The orchestration is masterful. All I can say is "well done!" Your write-up was most interesting and it seems your strategy worked. This is a fine concert piece as it stands.
  14. A beautiful piece - flows nicely, interesting harmony and imaginative orchestration. Well done. My single comment is about the lack of a pedal line in the organ part. There are moments when a soft 8' or 16' principal / diapason could have underpinned the manuals....but you get the effect anyway. Altogether nice and easy to listen to.
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