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Guillem82 last won the day on December 26 2019

Guillem82 had the most liked content!

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About Guillem82

  • Rank
    Intermediate Composer

Profile Information

  • Gender
  • Location
  • Occupation
    Mechanical engineer
  • Interests
    Cycling, travelling and nature
  • Favorite Composers
    Haendel, Haydn, Schubert, Mendelsohn, Brahms, Elgar among others
  • My Compositional Styles
    Classical, piano, soundtracks
  • Notation Software/Sequencers
    Finale and vienna symphonic libraries
  • Instruments Played
    Piano and guitar

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  1. Hi Markus, thanks for your feedback. I will try to explain about my creation process. Initially I wrote the piece in CM, and later I transposed it to DbM, because the register was better, specially for the flute and oboe, so I will refer to the initial chord in CM, because it's much easier for me to explain (I hope it isn't much confusing when you look at the score). I just started playing some chords in my piano, just a simple fifth chord progression Dm - GM - CM - FM - Dm - G#° - EM7 - Am. That's the first phase, endind with an inflection to the relative minor, and endind with Am, which is perfect to start with a similar chord progression. To that chords I added the 7th, and the 9th as a dissonance resolving always downwards to the octave as usual. I've tried to keep as notes as possible from one chord to the other, just to give it a sense of harmony moving smoothly so the voices move mostly by steps, therefore I have many pedal notes here and there. But I tried alo to give some movement here and there to create some movement and some interesting lines of quater notes to each part, because in that texture I wanted all instruments to have the same importance. It took me a while to get the desired result of the first phase well balanced. The second phase starts with the same harmony, but the flute line is ascending, in the oposite direction as the first, to add some variation and explore new harmonies. From bar 19 come a few bars with the same rythm in all voices and a couple of silences to make the music breath. Near the repetition bar there is a extension of the cadence with Dominant CM - DM7 - GM7 - CM. The repetition bar ends with a decepted cadences to Am, to link with the begining. After the repetition, it links with the monte you mencioned also in a non regular resolution of the dominant 7 chord (GM7 - CM7) with and inflection to the subdominant close to the end. One technic I used a lot is to introduce some solistic bars just before the final cadances, in this case flute and clarinet play a line one octave apart and then oboe and bassoon eco the line transpose to a forth. It's the idea of cadenza and can be applied to different music styles. The final pedal is a plagal minor cadance Fm -CM. Interestingly, the only authentic perfect cadence of the piece is just before the final tonic pedal on the bassoon. I think keeping the cadance to the end gives a bigger sense of expectation and a bigger sense of arrival when in comes, and the key are the non-regular resolutions of the dominant 7 chord, which are tipical of the romantic period, driven to it's extreme with Wagner's music. To the question of my source inspiration for this particular piece, I can not tell you. Sometimes I write under a influence of one particular piece or composer, but most of the times it's hard to say :) I hope it helps to understand my process.
  2. Very nice indead. The bass of the first movement is very well done, very bright movement. I love the electric rythm of the last one, it perfectly fits with the title.
  3. Hi Markus, Really nice quartet! Good variety in texture and dynamics. Amazing! Best wishes ;)
  4. thanks for you comments guys! @Markus Boyd to be honest I didn't know of Vanhal and Dittersdorf. Looking for the period and how they sound like, fit pretty well in the classical style of Mozart and Haydn. I can't tell you were the influence come exactly from. I draft the piece 1 or 2 years ago, and finished last month. @jawoodruff you are right, it could be more interplaying of the roles between the parts.
  5. Hi, here my new piece for Wind quartet, a King of dreamy one. I appreciate your comments.
  6. Nice, now the balance is much better, just be aware the lowest note of the flute is the middle C, being the good register one or two octaves higher :) and you start playing a D, right?. At that extreme flute can not sound neither loud, not brilliant, unless you use an alto flute, which can play a fifth or a minor sixth below the normal flute (E).
  7. Hi, a really enjoyed that. I love the romantic harmony, the modal scales and the motivic interchange between right and left hand. The sections are varied, but there,s also unity all through the piece, it helped my atention all the time. Congratulations!
  8. I quite like the opening, but the rythmic diminution from second 45 sound a bit ackward to me...such as the triplet rythm later on. Think you can find a more natural development, it sounds a bit out of the place. Anyway the opening sounds well balanced and elegant. Can you please attach the score?
  9. The first one at allegro tempo sounds much better to me. But please, attach the score. I'd like to have a look at the counter point.
  10. Hi, that's a very enjoyable piece. That's right, it has a Beatles flavour...please, keep on posting. I don't hear that kind of music in the forum often 😉
  11. The base and the rythm is quite nice, but in my opinion it's too loud, that I can`t hear the high register instruments. I'm not sure what instrument is sound from second 15 after the intro. Is it a clarinet in its low register? I think there's too much reverb in there, that makes the line unclear. Is that what you pretend? I actually had to hear a second time to hear it 🙂. I you want to underline that melodic line, which I thing is quiet interesting, you could go one octave higher to the brighter register, or chosing another instrument (trombone, or tenor saxo). A trumpet one octave higher would sound very brillant and clear. That are just some ideas... I think a score would help better understand what's going on. Anyway Good job.
  12. Hi, here a classic piece por string quartet. I don't know how to classify it formwise...maybe someone can help me. Any comments are welcome!
  13. I like the ambient and the sound, is it muted strings what you used? But I miss a climax with a suspension on the high register near the end to round the piece.
  14. Hi, I absolutely love the piece, 100% baroque...my favourite one is the allegro. Why do you mean your continuo is lazy? I find it very nice!
  15. Hi Lluis, thanks for posting! You are probably right, it sounds more classical :) I composed the oboe melody about 15 years ago. The original accompaniment consist basically of static chords in quarter notes for organ, which sounded more baroque to me. The original key signature was Dm, which was awful tonality for oboe (obviously I had no experience by then). I reviewed the piece last week, giving more dynamic texture and more interesting baseline, so it sounds more classical. I also changed the key to Gm, which fits much better with the instruments register and add some melodic embelishment (original melody had no sexteennotes and no trills, and the tempo was a bit slower). To be honest, it sounded a bit boring and with lack of flow...it just needed some work here and there.
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