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Guillem82

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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
    Male
  • Location
    Barcelona
  • 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

Recent Profile Visitors

1,365 profile views
  1. Hi, to be honest, I used that notation because I have never used before, that`s it. And I have seen it many times on classical music scores...anyway, thanks for the comment. I`ll correct it :)
  2. Here my new piece for viola and piano. Harmony is quite simple and diatonic in EbM with any modulation at all, just a few A natural borrowed, I guess, from Eb Lydian scale. Harmonic progression EbM - EbM - Gm - Gm (x6) AbM - AbM - EbM - EbM (x4) Gm - Cm - Fm - BbM (x2) - BbM - BbM This progression is repieted exactly the same and finish with a few bars in EbM.
  3. I like the energy and the character of the piece, it has somehow a passionate Russian flavour. Nice work!
  4. Thanks @Charissa Mae, That was the idea: separately introduce the different elements, by giving well defined roles to the instruments. First sounding just accompaniment, then adding a countermelody and lastly adding the melody line, by repeating the same harmonyc progression 3 times. 1. Accompaniment introducing characther, rythm and harmony with Cellos (bass and hard beats) and Violas (inner harmony and rythm). 2. Countermelody on the Violins II. Though it works also well as a melody without Violins I melody. 3. Melody on the Violin I. I think its important to assign roles to the different music instruments and being consequent to those roles along a piece of music, like the actors' role in a movie. That provides a guideline and unity to a piece. Best wishes!
  5. Hi Anthonydaly10 and Jean Szulc, thanks for your comment. Regarding the modulation to a dominant key I think brass will be pushed out of its confortable register, either too high or too low and I like the dramatic change of modulating to the parallel minor key.
  6. Nice work! I almost always like chamber music when well writen. I like andante the most. The allegro sounds too dissonant for me, sorry. Anyway, it gives a feeling of perturbating restless, that I thing you are aiming, arent you? Then it's nicely achieved. Sorry, Im probably too conservative :) best wishes!
  7. Thanks again quinn! Brass recording of 2nd Brandenburg concerto is really nice. I love piccolo trumpet sound.
  8. Thanks for the explanation Quinn! You helped me to clarify a few things on the topic. As I don't have a live performances in sight, I will leave it as it is, or just add some slurs on the phrases I feel must be played legato. As you said, in the baroque period there was not much notation on articulations and dynamics. It was first in the classical period, when composers started being concerned about it, since the change of style required to do it so. Without those details, it was the conductor who told the musicians how to play, or probably by the trend and style of the period musicians knew who to articulate without much indications. In many cases, it was the own composer how conducts the essembly on the violin concertino or from the harpsichord. Anyway, music history is interesting...and who knows how Brandemburg concerts used to sound, when they were first played in the 18th centuries?! Best wishes!
  9. Thanks for you time guys! I see a lot of knowlegde in bowing here. In my score I indicate staccato notes. For the rest of the notes should I indicate if they are legato or detaché or the direction of the bow?...I'm a bit confused right now...can someone provide some YouTube tutorial explaning string notation, please. I've Heard of lots of articulations and to be honest I'm a bit lost. Thanks!
  10. Hi Quinn, thanks for your answer. You are right, I should note the bowings, thought it's always difficult...I don't play any bow instrument. I take note of the reverbs as well, I Will check a bit more dry sounding. Best wishes!
  11. Wow, I love de lyricism of the pieces and the imitation dialog between strings and piano. Charming romantic style, very emotive...it reminds me of Rachmaninoff's piano concertos. Formwise I can see a perfect unity and flow all through the movement. Notable work! Keep on posting please 😉 Happy new year!
  12. Hi Luis, lovely pieces. They have and intetresting rythm and sound fresh to me. I like specially the Allegro. I have no critic, since I write more classic music, as you know :) feliz año!
  13. Nice dissonant harmonies in there. You could use more pizzicatos to emphasize the rythm, you just use it on double bass at the begining. I feel some past arpeggios or scales on violins and violas can help giving a more varied texture and emphasize the nice sincopated rythm. Also some tremolos or harmonics can fit in there. Anyway are just ideas, it sounds great!
  14. Hi, here my new composition, arranged for brass (2trumpets and 3trombone ATB), timpani and string section. As you can see it's totally inspired in baroque music and composers such as Haendel. It probably has also a bit of classic influence, but mainly baroque. I thought it to be appropiate to post that for the new year, since it has a celebration character. I wish you a happy new year 2020 you all 😉
  15. congratulations Alex! It sounds really Good. The texture looks simple, but very well balanced. I'd like to have a look to the score as well 😉 Happy new year!
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