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Quinn

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Quinn last won the day on December 7

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    Intermediate Composer

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  1. Nice "New Age" style relaxing music. Very easy to listen to. Well done for that. Except I'm perplexed why you located it in the electronics section.
  2. It came across as a drone, A loop, the opening theme going on for 50 seconds unvarying. The last 34 seconds were silent. Was this your intention? Can I ask what musical situation you wrote it for? Like a background to something, a video sequence, dance, etc?
  3. Apologies. I don't know how to quote within quotes on this site. Which is fine, as long as you're willing to accept the concept of language. For a work to be received the listener has to understand at least roughly the language being used. It assumes the composer wants to communicate something. If you had typed your post in Chinese I wouldn't have understood it. Music may not have quite the precision of an information language (words or pictures, say) but some semiotics still apply. As composition techniques have evolved listeners can get the gist of what's going on, if it's within their capture range - enough anchors to cling on to. More recent serial techniques (among others) haven't done well with conventional audiences for that reason. The works need an audience that can just listen but with no expectations. No communication other than 'there are sounds impinging on my ears' is possible, so language isn't applicable. Consider if you yourself re-coded ideas with new patterns of sound. You wouldn't expect others to understand what you were 'communicating' until you taught them the meanings attached to your sounds - operative word "meanings". Some people would be happy just to listen (as I do to Crèole while understanding almost nothing of it. But we're relatively rare). Familiarity through repeated listening is its saving grace if any. That sounds too much like work to me. I've proved that you can get away with anything. It depends who you want to listen to it. Why can't this site allow ordinary BB code?
  4. Agreed about ‘types of analysis’. We’d get nowhere creatively by learning by rote so there’s a tendency to analyse inter alia to find out how things work/are done. There are various ways like one can adopt systems thinking or one can dissect – perhaps sometimes both. It doesn’t have to be formal. Not the time and place to talk methodology here but... If I want to find out how a composer got a particular sound I’d look at the score which means looking at the context as well as the instrument(s). It’ll almost certainly involve past (rote) learning of theory – the rules and such nomenclature as is useful. But it’ll be informal. Analysis as in dissecting music serves little purpose to me other than an interesting sideline. Does it help “understanding” the music as an experience? Perhaps for some. For me, the music loses its experiential magic. Berg’s Lulu is a great example. People have analysed it to death and now for me it’s no longer a flow, a beautifully surreal emergence. It’s a collection of highly organised progression of pitches/durations/dynamics. I balk at the notion of “understanding” music. What does that mean? To me one assimilates a piece of music; enjoys it or otherwise. One understands music no more than one understands a piece of cake. So I think that the limits of musical analysis are the limits of the analyst - what the analyst needs to make sense of musical events. I dare say about 95% of music (including popular) arise from instinct and intuition and are devoid of analytical thought. The Beatles proved that excellent music could be made with no academic background whatever.
  5. Charles Kitson was a teacher, author of books on "elementary harmony" and counterpoint, a long time ago. It isn't all elementary though! My initial brush with harmony was Part 1 in my pre-teen years when a choirmaster felt I was worth his time helping me. Part 3 was opening Pandora's Box!!!
  6. I don’t think many of us would. All these techniques are useful in context. CP got very comprehensive by the time people like Kitson felt there was little more he could say. Although I write (mostly) atonally (but not I hope too abrasively to the ear) tonal centres creep into my work and the ‘good taste’ of the CP era is very applicable in laying out both vertical and horizontal progression particularly if one relies on chromaticism a lot. It can make a difference between clarity and awkwardness in orchestration/sound organisation. Similar principles apply to musique concrète, electronics, and mixes of all. If one relies on intuition it’s useful to be able to move in and out of tonality whatever resources the piece needs. The big question to me is still ‘Are you going to put it before an audience?’ and if so, what sort of audience? In which case you’re into communication and, like it or not, neurophysiological issues come in on the act. Some musical events are pleasing, some aren’t (which doesn’t mean you don’t use them according to your judgement). So organised sound does possess some of the qualities of linguistics. A huge perfect cadence at the end of a work gets far more riotous applause than a weak fade-out. Semiotics are involved. It’s why some of the modern technocratic composition techniques get such short shrift upon reception. For their work you need an audience that just listens without expectations… I may have to edit this when I sober up. Hmm...
  7. This is sorrowing indeed. You'll compose nothing if you were to die. But you're asking BIG of yourself: programming takes an awful lot out of its practitioners and you're taking a technical university course AS WELL? No wonder you're tired. Your energies are always at risk of draining. You don't say what aspect of programming you do - coding? -specification? They both need a lot of concentration no matter what your working environment is like. Try to look to the future when your studies are over, Plan for a few weeks' rest away from everything. You've shown yourself that you can compose so music will always be with you. Wait until you're rested up and it'll be there when you're ready. Wishing you well...
  8. His 5th Symphony is "brooding", sensuous and exciting, not the least because of the big choral ending. I wasn't able to find out more about what the vocal text was about. I shall keep trying. Next it'll be his 1st Symphony.
  9. It’s just about all been said. As with many things (in life) we set on a path and progress, sometimes realising we’ve led ourselves up blind alleys, have to backtrack and choose another route. In a way I see the technicalities of composing like running a map – the map contains all the procedures we’ve learned so far along with our experiences of them. We know where we can find what we need. But much remains unexplored. I’m a bit against over-jargonising theory. It’s there but to me it’s about formalising what the expounder thinks is good taste. We may have to expand on established academia if it proves inadequate. The composers in sound organisation quickly learned that the recording studio was their instrument of choice. (As someone once said, the revolutionary is nearer the prison than the professor’s chair - can I substitute “side-lines” for prison? But the notion holds good.) It’s also about communication to me (and I know a few disagree with me, sorry about that). Do you create entirely for your own satisfaction? Is the process more important than the result? Do you expect an audience to listen? Do you expect the audience to have expectations? Is music entertainment? Maybe we do them all. So I don’t think there’s a formal way to create a body of work. Our work is the sum total of our creative paths to date. Others may disagree.
  10. Most interesting and pleasing to listen to. One point immediately noticed was giving the bass an entirely independent part. Some of it's harmonics would have to be played fairly high up the fingerboard but they'd work with less resonance than the lower positions. Accomplished in how you divided the string parts....that seems to reflect the Barber String Quartet movement (which as a quartet is pretty difficult as the divisi has to be played as double stops, of course). The harmonies were engaging, so was the interplay of harmonics with normal. As you say, the harmony pushes the work forward and I wasn't too concerned about melody lines. There were enough motifs to hang the harmony on - example: bar 114 on; bar 130 on, etc. Congratulations on an accomplished piece. Cheers, Quinn. Edit: At least I was at last able to listen to it throughout this time!
  11. I was quite surprised to find so much Brazilian music on Youtube and elsewhere.... it's been uploaded in very recent years. Never once did I expect to find a Guarnieri Symphony. I had just a couple of recordings of other composers taken off-air from the BBC long ago (notably Nepomuceno's rather beautiful Symphony in G minor and one of Fernandez' Symphonies). Interesting that of South American countries, Brazil stands out and is doing most to promote its music now. Bravo to the Sao Paulo Orchestra, Neschling and his associates! I can't raise the same enthusiasm about Argentinian or Mexican music (with the exception of Revueltas). But it's more than just music, it's a reflection of the diverse cultural styles that make up Brazil (as I see it. Please excuse my opinions here). Someone might claim that Brazilian "classical" music was still heavily influenced by Europe until Villa Lobos burst on the scene. But not quite. Nepomuceno's work has that "saudade" about it that makes music of his times unique. But I won't keep on here. This is stuff you know anyway. I'll listen to Guarnieri's 5th Symphony later today. One thing is certain. I have to steer very clear of S. American and Caribbean music if I feel in the mood to compose. It can be most infectious! (Aside: I must also comment on your Adagio for Strings.... My last attempt to listen was interrupted. .... Well, you are a Brazilian composer.... :) .
  12. Congratulations on an interesting video and worthy cause indeed. Fact is, until recently, Brazil has been negligent in promoting any of its “classical” composers. It’s been a living art for domestic consumption with little attention to export. Most Villa-Lobos has been produced outside Brazil – notably his Symphonies, first recorded (and brilliantly) by St Clair with the Stuttgart Orchestra. Some works have been recorded in Brazil – most of the String Quartets by Bressler-Reis. In the last decade we’ve been inundated with HVL’s guitar and piano music. (Excuse me mentioning what you’ll already know but it may be of interest in the wider sphere.) But Guarnieri? Very little. Most people know him for his Dancas. BIS has recorded 4 of his Symphonies and Naxos his concertos. I’m loathe to buy BIS’ Brazilian recordings since the engineers interfere too much in the production, judging by the mess they made of Villa-Lobos’ Choros. (They may play what’s on the scores but you wouldn’t hear them in concert like they are on BIS recordings.) I was hoping to sample them in Amazon (shop not HVL’s favourite haunt) but BIS hasn’t made samples available. However, his Symphony 2 is there on Youtube along with other bits and pieces. The orchestral works interest me the most. He has contemporaries worth more exposure: Oscar Lorenzo Fernandez, Radames Gnattali, Mignone and others. I'm a big fan of South American music. I’d love to subscribe to your channel but I don’t have an account. For my part, apologies.
  13. A while ago I was SO looking forward to going to an Indian party but I had to cancel it. I couldn't find a baby sitar.
  14. A nice little piece and yes, it might be on the hard side for a child to play. I'd put it at about grade 4 for our Associated Boards (ABRSM) exams. Needs a light staccato touch. For me it's reminiscent of Debussy (his Prèludes) or Milhaud.
  15. A sad story indeed. But don't mark yourself down as an "unsuccessful composer". Do you mean a famous composer? Because there aren't many about today who have achieved recognition. Remember that making it a career is a hard task indeed. I know a couple of composers who have had public exposure but they could never make a living at it. One teaches music (and hates it!), another works in IT. Another works in a bank. He doesn't particularly like it but recognises that the money funds his hobbies (i.e. composing). Best to concentrate on your health and doing what you can as you go. You don't need to go to conservatoire to be a composer and (personally) I have serious doubts about the value of a degree course in composition. I mean, they can teach you the tools but they can't teach you creativity. The best you could get from it is performance of your work. For me it did more harm than good and I still haven't recovered entirely. Then possibly learn to play an instrument so you can join an amateur orchestra or ensemble. If nothing else you can talk to others about their instruments and end up composing for them. (That's how it's panned out for me.) Or just compose when you feel able to. Always keep your rejected pieces, sketches and so on. You never know when you could recycle something! Wishing you as best a recovery as possible.
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