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Tónskáld last won the day on December 8 2019

Tónskáld had the most liked content!

Community Reputation

88 Excellent

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
  • 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
  • Notation Software/Sequencers
    Sibelius, Spitfire Labs (VSL)
  • Instruments Played
    Piano, viola, clarinet, flute, French horn

Recent Profile Visitors

1,086 profile views
  1. So what you're saying is that we can mention our preferences, as long as our preferences are encouraging to the composer? I feel like that's unreasonable. Luis simply said that he wished it weren't as predictable and this apparently bothers you despite your statements to the contrary, as you've written three full-bodied posts now in your defense. I think what Luis was gently suggesting is for you to be more adventurous. This piece you've composed is well-written and sounds very nice. Not many people know how to do what you've done. However, it did follow the same chord progressions and rhythms throughout, and in that regard was quite "predictable." There is nothing inherently wrong with a piece being predictable, and I'm sure you realize this. But problems arise when we think too highly of our compositions, substituting them for our own fractured egos. Criticisms of our works can feel like criticisms of our soul, and we tend to react accordingly. Now when someone says something even remotely detrimental about our work, it makes us uncomfortable or makes us feel personally attacked. So we do what anyone would naturally do in that case; we defend ourselves. But when we learn to value our true selves properly, we don't have to rely on our creative output to "make up the difference." We can view our works honestly, understanding that they're flawed in all the right ways—just like we are. We don't have to waste time defending the "flaws" in our works because we know it doesn't matter: the flaws make the work uniquely ours! (I'm not trying to imply that we shouldn't try to write better music, just that we shouldn't focus too much on where it went "wrong.") If this is where you are, then I'm happy for you! But if you still feel too self-conscious about your works, then I do hope you'll learn the value in who you are rather than what you do. In any case, I hope you keep composing. You're obviously good at what you do!
  2. Well, that was a ride, and that's no joke! Not my preferred style of music, but the articulations kept it interesting. But THE BEST PART was getting to hear you play that live!!! I loved that! Edit: I didn't hear her play that live in person. Just on the recording. Like the rest of you heard her.
  3. I'm Jordan (I compose under the pseudonym Jörfi, though). I joined the site about 6 months ago—it's really given me a sense of community I lack in real life composing. I've made a few friends on here that I hope to keep for the long haul. 🙂 I've always loved music and had an uncanny ability to pick things up musically. My "serious" instruments are piano and violin/viola. Professionally, I'm somewhat of a conundrum. I intended to pursue a degree in piano/vocal performance at university, but the sciences won out in the end (better pay) and I went on to get a doctorate since I'm a glutton for punishment. My day job is a pharmacist, but I consider myself a composer first—even if I only do it "on the side." I consider myself rather iconoclastic and prefer not to follow the path of other musicians/composers (sometimes it can't be helped). I have a wide range of classical music likes; my own style tends to be a blending of modern and postmodern ideas. I enjoy writing for any instruments in any musical ensemble, many of which can be found on this site. As others have said, this forum is quite a gem and i'm super grateful for it! May it live long and prosper!
  4. If I didn't know any better, I'd say this was a lost étude of Chopin. So masterfully done! (Also, great job on getting the MIDI rendering to sound lifelike!) There is so much nuance here. It's as if your mind is one step ahead of the music, rather than the other way around (which seems to be the case for typical composers—myself included.) Overall, great job! I enjoyed this very much... now if we could only hear a live recording.
  5. I must echo @Noah Brode... thank you, @Monarcheon and @Luis Hernández for your dedication and thorough evaluations of these works. And for the time you sink into this forum in general. It does not go unnoticed. Special congratulations to @Gustav Johnson for the win! I'm just honored (and pleasantly surprised) to have been named among the top 3. (I kept checking the individual judge's scores to make sure there wasn't a math error.) All of you were quite worthy competitors and I'm fairly certain none of us would have produced such top-quality works (speaking for others, of course) had the standards not been so high. This competition stretched me in so many good ways—I'm already looking forward to the next one!
  6. This is fascinating! I love your chord progressions here. And the rhythm is so... nonchalant, just like a cat. I feel like you've captured the subject very well in the music. Great job!
  7. Oh, I don't know why this doesn't have any reviews. It's quite lovely! It did indeed sound Romantic in nature, or perhaps late Classical. I like how each instrument group sort of has its own themes that don't cross over into other groups. I hope you make time to finish it!
  8. I'm going to butt in on this conversation, if I may be so bold. I go about it the opposite way of @Ken320, although we both end up with great results (for his part, at least). I have a MIDI keyboard connected to my DAW (Kontakt 5 in this case) but I've found that inputting directly from the keyboard makes my part writing too unrealistic. So I compose everything as a score first in Sibelius. I usually save two files: one as an official score, and one that I can tweak for playback. Then I export each stave individually as an audio file (.wav on PC, .aiff on Mac), convert them to .mp3 files, and mix them in Reaper, which is a pretty cool mixer that's free to download. (There's a $60 one-time license fee after the 30-day trial. They don't make you pay it, though, so you can keep using it for free as long as your conscience lets you.) It's not a perfect system, and I do wish Sibelius' reverb and pan/volume settings worked better so I wouldn't have to import everything into an external mixer. Oh well... the things we do for our craft!
  9. Congrats, man! Cool graphics (and cool music, lol)!
  10. This is an interesting piece! I like how the opening recurred throughout, reappearing in the 3 different segments. The opener was rather exciting, like something out of POTC. The middle was dramatic with crashing cymbals and brass. I really liked the chords there. The final segment was slower and lush, like taking a breath after a long storm. All in all, a nice, cohesive work. I'm curious what your inspiration was!
  11. Wow, Alfredo, such passion! In terms of the harmonic structure and layout of the piece, it sounded late Classical/early Romantic. The chords were clean, for the most part, making this sound cool and fresh. You also weren't afraid of exploring in related keys, such as Gb major/Eb minor and Ab major/F minor. Good for you! I think you have some depth to your music that only comes from experience. Some criticism—the piano part isn't terribly fun to play as it conists mainly of maj/min triads and arpeggios. The middle passage, where you venture briefly into 3/8 time, seems exciting, though. There are also a number of passages that double notes in both hands (e.g., M. 20) that will need to be cleaned up. My ear was also longing for some "off color" chords to spice things up every now and then, but I didn't hear any except maybe the measure before the end. As you become more familiar with the circle of 5ths and constructing music from it, I encourage you to explore altering the chords bit by bit. What might happen if I made this an augmented 4th instead of a perfect 4th? What if I made this a dim7 instead of a min7? And so forth. (BTW, I did hear an aug. 4th early on in the piece and got excited, but it never happened again—or I missed it if it did.) Keep up the great work!
  12. Yes, I agree with @Luis Hernández. This is a lovely piece! It's simple yet satisfying. The dissonance here is just right. Great job once again, Lotsy! And my music theory isn't so good, so I can't really explain that either. I suspect he's referring to your harmonies that are always separated by a maj or min 7th, which would be separated by 2nds if one line were transposed up/down an octave.
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