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EquillaBeasley

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About EquillaBeasley

  • Rank
    Member
  • Birthday 07/07/2001

Contact Methods

  • Yahoo
    equilla2011@gmail.com

Profile Information

  • Biography
    I like meeting new people, especially musicians and composers. I'm pretty blunt but can get along with anyone. If you want to chat, feel free to contact me.
  • Gender
    Male
  • Location
    USA
  • Occupation
    Entrepeneur
  • Interests
    classical and jazz piano, composing, writing, video games
  • Favorite Composers
    Brahms, Beethoven, Chopin, Mozart, Kuhlau
  • My Compositional Styles
    I like to modulate a lot, often to the detriment of my pieces. Harmonies aren't that important to me unless I'm intentionally modulating. I focus more on melodic lines, rhythm, and most of all creating experiences and feelings through music that tell some story. Oh, and I also have parts of my pieces that are very chromatic or dissonant.
  • Notation Software/Sequencers
    Musescore, Dorico when I can afford it
  • Instruments Played
    Piano

Recent Profile Visitors

46 profile views
  1. Yes, the timpani can change it’s pitch, however it takes time and must be notated that a certain drum has to change pitch. The time to change pitch, on average, is 4 measures in moderate time. If you want them to use the pedal during playing and not during rest, mark the change in pitch as a glissando.
  2. It sounds nice, but I do ask “why is their no English Horn?” You have the woodwinds in threes but you left off the English Horn. also, make sure you are careful of the Timpani. I see you use five different notes for the timpani in the first three measures. There’s only four drums for a standard Timpani, and each drum has a specific range. I think you should read up on the timpani. Also, use less of it. It’s effect as an accent in the piece is overused.
  3. I believe you’re looking at the a minor section with the wrong idea. It’s not supposed to be sad. It’s supposed to be lyrical, thoughtful, and bring out the deep emotions and thoughts within people. If I wanted to make a dirge, I would make one. Besides that, the analysis is quite accurate, so thank you.
  4. No, focus on more on what you hear than the theory. You're stuck too much in the rules and that's limiting your potential. Listen to the piece and then follow your intuition of what sounds good to you. Don't let theory define all of your actions.
  5. This piece focuses too much on music theory. I here a lot of scales, a lot of Alberti bass, and many other music theory based things, but I don't hear YOU. All I'm hearing is different things you pulled from music theory. I don't hear the piece going anywhere, and it feels lost in what it wants to be. What do you want from this piece, first of all? Find that out first and this sonata will be much better. I don't see a theme, a consistent idea, or any direction. I think you need to focus on what you want from this piece. If you want to simply make a dedication to Mozart, he had Motives. Sonata K545 has a short motif that it begins with and then builds from. You start with Ode to Joy and then turn into scales. Build up your ideas more, and then you should be able to hear what you want from this piece. Right now, I'm not hearing YOU.
  6. I'm not well versed in Toccatta writing, but I've been wanting to make one as well. As I understand it, it is a balance of runs and then cadences where the music rests. I say pick a key, create some runs that you like, and then have it cadence, but then build off that until it can reach its grand finale.
  7. The piece begins with a cadenza and then transform into a beautiful piece about the line between life and death. You should hear the voices of past people as this piece grows. There's much more I have to add to this, but for a start, I'm happy with it.
  8. I love the feel of this; it’s very accurate to your description. Try to Add more intensity by increasing the tempo eventually in the track. The dissonance is good, but I want to hear the horses struggle to gallop through the mighty feet of snow!
  9. This is a violin and piano accompanist piece that is made to depicted snowfall and anything related to snowflakes. You should be able to hear this and enjoy the piece too.
  10. I really like it. I think the transition from the C# major section to the C# minor section was too abrupt, though. You could insert a few measures there where you add a cadence with a Picardy third to move from major to minor, or have a pause there with only the damper pedal still held. Those are some ideas I would use, but really anything works.
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