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Tónskáld

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Tónskáld last won the day on March 16

Tónskáld had the most liked content!

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About Tónskáld

  • Rank
    Advanced Composer
  • Birthday July 31

Profile Information

  • Biography
    I'm an American composer of instrumental music. I enjoy hybridizing altered scales with traditional harmonies.
  • Gender
    Male
  • Location
    Iceland/United States
  • Occupation
    Something non-musical
  • Interests
    Writing music, playing piano, being outdoors, traveling
  • Favorite Composers
    Debussy, Gershwin, Ravel, Sibelius
  • My Compositional Styles
    Impressionism
  • Notation Software/Sequencers
    Sibelius, Spitfire Labs (VSL)
  • Instruments Played
    Piano, viola, clarinet, flute, French horn

Recent Profile Visitors

1,252 profile views
  1. Nice, enjoyable piece. Looked fun to play, too. Only critique is that V-I leap at the end; it was unprecedented and seemed out of place. I'd recommend smoothening it out. Great job, thanks for sharing!
  2. Oh, now I fear I've just proclaimed my ignorance. None of that makes any sense to me. I was hoping my ears could pick up the microtones... 😬 I'll leave you to your microtonality and let those with more experience in such matters critique that.
  3. These are fabulous, and kudos for having them performed! They certainly deserved it. The only misgiving I have is that there were no fast movements. Unless the Gigue is supposed to be played faster and the performer just didn't...?
  4. Your musical language is intriguing, a blend of many different styles. You have a strong sense of melody and rhythm, and the harmonies seem to do exactly what you want. This piece is no exception... quite enjoyable! Are you a self-educated composer? (Also, since you're posting pieces that have the potential to be performed, it might be more beneficial if you'd post the scores, too. There are a lot of users on this forum who can provide great feedback on music notation.)
  5. Hi Nicolas! Interesting piece, although I didn't notice anything microtonal, at least not relative to the other pitches in the work. Nice buildup throughout, catchy rhythms. A tad long, I would say. Lots of good ideas and variations there, perhaps truncate in the future and shave down to the very best. Just my thoughts. Fine job, thanks for sharing!
  6. As an exercise in melody, it's pretty good. I can tell you have an ear for melodic development. Harmonically, though, it's a bit scant, and the harmonies you do include don't really support your melody. That's not to say it was unbearable to listen to, because I found it rather pleasant; however, the piece seemed to twist and turn like an out-of-balance dancer: the melody went one way, the harmony another. For example, in measure 3 & 4, you harmonize with the subdominant (F minor) rather than the dominant (G major/minor), never allowing the work to enter into a cadence. Not that you have to have one, but the ear does need to hear the music come to a resolution at some point other than the beginning and end. As you listen to music by the greats, notice how their works seem to breathe: there's some carefully planned-out phrasing, some give-and-take, push-and-pull—whatever you want to call it. They've followed basic rules of harmony and voice leading. I highly recommend looking at their music to learn from them. A great composer to begin analyzing with is Vivaldi. Many of his scores can be found for free online (www.imslp.org), and nothing is easier than finding the corresponding piece on YouTube or Spotify and following along in the score. This helps you "see" what the music is doing, and gives you a better feel for these harmonies when composing yourself! There are some orchestration issues with your piece, as well. The biggest I see is all the instrument doubling. In the beginning stages, it's difficult to conceptualize what instruments will sound like when played together or separately. No worries, though! I think with more practice (and score analysis) you'll quickly figure all that out. I didn't pursue music in college, so I can't speak to your second question. All in all, great job! Keep it up, and thanks for sharing!
  7. Oh, sorry, guess I'm confused. What are you wanting a response on?
  8. This is pretty good! It sounds fun to play, and I like how you don't just give the right hand the melody all the time. You kept my interest with the shifts in tonal centers, from major to minor, and really the whole thing fit together well. I hope you're able to have it performed someday. Thanks for sharing!
  9. Ditto what @Ken320 said. I especially love that you chose the organ here! It's vastly underutilized. In this piece, adds a certain amount of groundedness that really anchored the piece, but I was looking forward to its return at the end, too. Not that it really matters... it is your artistic choice as the composer, after all. Great job, and very resourceful of you to make the best use of your quarantine. 😉
  10. To me, it was a very pleasant and, at times, emotionally stirring listen. Perhaps a bit repetitive, although I don't think that's quite as much a problem in filmscore as it is in "serious" classical music. I'm no mixing expert, but everything sounded of professional quality IMHO. The choir meshed very well with the backbeat of the drums, and the soaring violin was not overbearing by any means. Sounded like it could've easily been lifted from a film! It looks like you've put a great deal of effort into this and I'd say your final product reflects that. Great job! My guess is Harry Gregson-William's scores from the The Chronicles of Narnia. Not sure of the exact song name (Title Song? lol), but I do hear similar chord progressions and drum sequences.
  11. I love that game! Soundtrack is fun, too. 🙂
  12. Beautifully put! Why don't you just write a self-help book already? 😉 And, yes, I agree with this @iPiano7. Stretch yourself and see what shape you fall back into.
  13. Loved this! I see you're getting some enjoyment out of the organ. 🙂
  14. In a nutshell, I don't know. Harmonically, up until only recently I've stuck to conventional Western major and minor scales: do, re, mi, and so forth. Nowadays I like to use altered scales to construct harmonies and melodies. It's fun, adventurous, and probably sounds terrible. I suppose that would make me a post-tonal composer. I like well-placed dissonance as much as I like well-placed consonance. Structurally, I guess I follow Impressionism closest. Thematic development is done carefully, over the life of the piece. There's typically a strong sense of melody and emotional use of dynamics. I wouldn't know what label to put on myself. I've not been to music school and all those fancy terms escape me. Someone more musically educated than me can tell me what label I fit under. As @Luis Hernández said, I do this as a passion and not as a job, so I'm able to devote a lot of time to experimenting with various styles. Great question, thanks for posing it!
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