Jump to content

Quinn

Members
  • Content Count

    107
  • Joined

  • Last visited

  • Days Won

    6

Quinn last won the day on October 8

Quinn had the most liked content!

Community Reputation

23 Excellent

1 Follower

About Quinn

  • Rank
    Intermediate Composer

Profile Information

  • Gender
    NA

Recent Profile Visitors

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

  1. When I was thinking about applying I wrote the last movement first so I could sort out this shared material then write enough that I could pick bits and pieces from it for the earlier movements. The issue of amalgamation was answered therefore.
  2. As far as it went I enjoyed it......but tend to agree about being just a little longer. Some nifty orchestration and the changes in tempo seemed appropriate. I don't know about the pause at the end of bar 10 though. Have you tried breaking straight into the piu mosso? The chromaticism wasn't intrusive and just seemed to help the harmonic flow. My only comment otherwise is that the notation rendering didn't do it justice. A few parts that came across as solos didn't stand out - just lost in the general balance. However, it's a pleasant work. Just ended all too quickly!
  3. I'd be really interested to see your solution, particularly bars 1 then 6, 7 and 8. The guy who watched over my earliest attempts at arranging had me do some Beethoven. It's going to take some rearrangement of the chords to sound effective. Good luck. :)+
  4. Thank you for listening and your comments. Yes, it isn't easy. It could probably be played at a slightly lower tempo, just slightly. The lead cellist of our town orchestra is an ex-professional, an acquaintance, who had a look at it; confirmed it was playable. He noted that there weren't many hazardous string-jumps, made some bow stroke markings that made the swap to and from pizz manageable as he raised your same point. He did me the kindness of showing a few phrases on the instrument but wouldn't attempt the whole piece! I owe him a few beers! Again, many thanks.
  5. Thank you for your kind words and prompting me to make the alterations. Glad it sounds less blurry,
  6. Thank you for that. Much appreciated. In fact I think you're right. The reverb needs turning down a shade. I just used my standard setting but it is blurring the notes here and there given the pace. It could also do with a dynamics touch up and reworking a brief passage near the opening to keep the rhythm. EDIT: A more polished version:
  7. Ok. Your point accepted. But then why say: "The minimum is added basically to ensure sufficient motivic development. It is difficult to do so with less than 45 seconds of new material, at least when you apply Forte or Perle's analytical systems (Schenker and Koch are bit more lenient)." which seems to imply development of motifs according to the rubrics of the names mentioned and is a constraint. My theoretical education came a little before them and was limited to that basically taught by the ABRSM at Grade 8. (Edit: Although as a pre-teen I was taught CP from an organist using Kitson Parts 2 & 3. end edit) So I'm unfamiliar with much of what they have to offer. It threw me off a bit! Whether my music would stand up well if dissected by Forte or Schenker I haven't a clue. :)
  8. A short piece intended for a competition but not submitted because of time and other constraints (at least 4 movements were needed). EDIT: I should mention that all movements had to open with common thematic material. In this piece that material lasts the first 12 seconds. Lasts 1 minute. I'm told by a pro who looked through it last night that it would need at least a quartet player to perform it. It should keep any cellist on their toes.
  9. I think you should have stated that in your original expectations. It rules out through-composition and by inference from the names you've quoted it looks like it'll be judged on the technical and analytical rather than the musical....so, I'll sit out for this one. One of the movements I completed is through-composed.
  10. Unsure at the moment. I have a week to decide but it's probably going to be no. The sticking points are anonymity and the score. I'd write for a solo instrument so I'd handwrite the score or tart up what's produced by my DAW which is far too literal for its own good. That means somehow making up a pdf for online submission.
  11. I thought I was registered. I can sign in (although the password is a bit hit and miss)!
  12. The site is in Chinese. It claims I can change the language by clicking on a link but I can't see one.
  13. Some questions: 1 So far as judging goes, do the composers retain anonymity? 2 Does the 'shared material' have to be in the same rhythm as the first statement? 3 Does the shared material always have to start on the same note (as opposed to any other of the 11 chromatic notes or microtones in any part of the instrument's compass)? Thanks if you can inform.
  14. You're doing pretty well. I found the way you "swapped" the E minor chord in one phrase with E major in the next then got back via a G chord, attractive; intriguing. (Assuming my ear isn't deceiving me about the key!) I reckon if you ended on the E major chord and hold it, ramping down the string figures or something it would be a very optimistic ending. Good luck.
×
×
  • Create New...