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Guillem82 last won the day on July 27

Guillem82 had the most liked content!

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About Guillem82

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, here my new piece, although I don't consider it finished. I think the main theme works pretty well, with its accompaniment and ostinato baseline, and it could be more elaboration and changes on it to do the piece a bit longer and with more contrast. There is a second theme, a contrasting one in the relative major scale. The structure of the piece is: Intro - A - B - A. I appreciate some ideas, also critiques about orchestration, harmoy or whatever are welcome. Here a screen shot of the main Theme (A) with its accompaniment:
  2. Gracias @Hendrik Meniere! You just got the character of the piece: there are some moments of calm and hope "some light behind the shadows", but they are always knocked down by the power of the brasses.
  3. Thanks for your answer @Marc Deflin! I use Special edition vol. 1 & 2 from Vienna Instruments with following articulations: Strings: Long notes (sutain), short notes (detaché & shot detaché) Woodwinds and Brass: Long notes (sustain), short notes (portato) I also use Valhalla reverbs, which are really good for its price.
  4. Hi @Jean Szulc, I really appreciate you comments. Thanks!
  5. Hi, here my new composition. I wanted to create a dark and dramatic atmosphere with the use of brass and double reeds. It starts with a Trombone solo with a timpani triplets, with reminds me somebody knocking at the door heavily. And in bar 12 come the violins with descending sixth chords with a seventh tension on the first violins, that reminds me of heaven and the angels. The main theme with its full harmony comes in bar 18 played with the full brass section and doubled with a timpani triplet pattern on the tonic and the dominant. at bar 45 comes the second section, more lyrical, with a choral style and after that, at bar 72 comes a repetition from the beginning with a final coda. I don't extend more my explanation, you can see more by yourselves. Hope you enjoy and looking forward to you comments.
  6. Thanks @Jean Szulc! I'm glad you like it.
  7. Hi @ I enjoyed that a lot. I like the texture, the voice leading and the form you used. I like the binary form you used: 2 parts with repetition, the first part closing on the dominant and the second closing with the tonic. Also the short modulation to the subdominant close to the end. That characteristics are very typical of the binary form of composers in Bach's period. It seems you have the idea of form very clear. Good job!
  8. very nice indeed! The texture is so elaborated. I agree with @Tónskáld, I miss some melodic lines. Otherwise I envy your capacity to make the music walk without a clear "melody". I'm not able to compose without a clear melody, but you showed me it's possible. Such a nice experience! Thanks for sharing!
  9. Hi everybody, @anthonydaly10, @Luis Hernández, @LayneBruce and @Markus Boyd, thanks for take time to hear my music and giving your feedback. Your comments are of great value for me. And sorry, a was not able to answer at you before ;) @LayneBruce you are probably right, crescendos and diminuendos are not often seen in baroque music, I just wanted to give some intensity flow on the dominant pedal passages. @Markus Boyd: you really did is really nice, you did your own version of my piece and a kind of variation of the main theme. In my opinion, I miss some notes in the first 8 bars, but of course, If you pretend to give more movement on the variation later on it's a very good option start with a very simple texture to have more contrast between original theme and the variation. That's the idea of ostinato bass were you can add some layers on the basic harmony, I like the idea. I also like the idea of bars 13 - 14 with some syncopated notes o "retardos" (I'm not sure if that's the correct term in English) to enrich the harmony. Markus, thanks for your time. You gave me some good ideas for my future compositions.
  10. Hi, here my new baroque piece. Any comments are welcome!
  11. It sounds great to me. It can perfectly fit for a movie. What VST are you using? I like the double bass doubling the bassoon one octave lower at the beginning. Interesting start: you just double different instruments by octaves with the same repeated-note pattern, first oboe, clarinet, bassoon and double bass (I'm not sure if those are the instruments). It's very simple, but it works. Thanks for sharing!
  12. I like the harmony you are using, with some aggregate notes. But I agree with Luis, the intensity flow sound kind of odd. Is it done on purpose, or it's just an effect of the virtual sounds and reverb you are using? I score would help to understand what you are aiming ;) Nice piece of music though!
  13. That's a very interesting topic. Anticipating music ideas is a good way to link different parts. Also a silence or a well placed pedal can be the perfect link beetwen parts, I find very elegant and effective. As an exemple it's used by F. Schubert in his Unfinished Symphony. The long pedal (about min 1:12) has a double function of modulating from Bm to GM and introducing a new music idea and section. The D pedal on Bassons and Horns works perfectly as a common note beetwen the two chords Bm and GM, and as a musical breath preparing the new section.
  14. Hi @fililando, thanks for posting! I really enjoyed that. The lyrical character caught me from the first bar all the way throught the 14min. Nice score and life recording....Harmony remind me sometimes of Mahler.
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