Jump to content


  • Content Count

  • Joined

  • Last visited

  • Days Won


Tónskáld last won the day on September 1

Tónskáld had the most liked content!

Community Reputation

44 Excellent

About Tónskáld

  • Rank
    Intermediate Composer

Profile Information

  • Gender
  • Location
    Iceland/United States
  • Occupation
    Something non-musical
  • Interests
    Writing music, playing piano, being outdoors, traveling
  • Favorite Composers
    Bach, Gerswhin, Grieg, Sibelius
  • My Compositional Styles
    Neo-Romantic, Northern European/Scandinavian
  • Notation Software/Sequencers
    Sibelius, Spitfire Labs (VSL)
  • Instruments Played
    Piano, viola, clarinet, flute, French horn

Recent Profile Visitors

592 profile views
  1. Hi, Em! This was a great melancholic piece and I enjoyed listening to it! It seems to me you start the piece in A major and end it in D major, but I wouldn't worry too much about it. You tend to "color" your major triads (at least the tonic and subdominant) as maj7 chords, so this piece never seems to have a home key—it sort of walks in the neighborhood of A/D major and their relative minors. I like it when songs have this ambiguity! The repetition didn't bother me, as I don't think you were going for a strictly classical feel. To me, it sounded like a pop/classical hybrid—maybe even something from a movie—so the repeated phrases seemed to belong. I will mention a troubling bar or two from the score, if that's ok. In m48-49 you have the RH playing a sustained F# while the LH is supposed to hit that same note a few times, too. This, of course, won't be playable, so that passage may need to be adjusted. I think you definitely have talent as a composer! Your musical form will become more structured the more you compose. Keep up the good work!
  2. I've never heard of Guarnieri but just listening to that short clip on YouTube, I think he's going to be a favorite! It sounds so Brazilian, and sort of like Gershwin, in a way. I love it! Thanks for the feedback, and I'm glad you enjoyed it!
  3. I have to agree with Luis. Your piano-writing skills are nothing short of masterful. I don't think I've encountered one of your pieces yet that I haven't really enjoyed! Thanks for sharing!
  4. Hi, Jean! What a way to burst onto the forum with such a moving work! I loved the lush sounds of the divisi strings; it really added some depth to the harmonies. The gradual inclusion of the instruments was also very tastefully done. Below, I have provided some more detailed feedback regarding the score. The 2nd violins often play two simultaneous notes. It's good practice to indicate whether these notes are to be played div. or non div. m3—you have the celli doing a slurred pizz. This means that the players will pluck once and just finger the rest of the notes under the slur. m10—the resolution to C (or C7) was beautiful! m11—I don't think the word "unite" is universally recognized, but I could be wrong. I usually see the word "unis." m12—the two final 8th notes in the clarinet would look better as a quarter note m19—I'm not sure what the "arco" in the v2 and viola is for. Is there a pizz somewhere that wasn't notated? The crescendo to the end was very moving. Nice job! I'm also very pleased that you featured the violas prominently in this piece. That's an obviously biased opinion (I'm a violist) but it still feels nice to be noticed every once in a while. 😁 Looking forward to hearing more of your works!
  5. Thanks again, Luis! The suite progresses more and more into dissonances and "modern" harmonies, but I return to simplicity in the final movement, which I'm working on right now. Sigh. It'll be nice to finally have this suite completed, after coming up with the idea almost a year ago...
  6. This is the fourth movement of Íslensk svíta (Icelandic suite) for piano solo. This movement is really a variations on a theme, the source being an Icelandic folksong, "Vísur vatnsenda-rósu." The piece has more of a cinematic feel to it than the other movements, and definitely requires more virtuosic abilities. There's also a certain edginess to this movement that, I think, contrasts nicely with the ebb-and-flow of the others. It was quite enjoyable to put together, so I do hope you all enjoy this, as well. Please let me know what feedback you have! Word to the listener: there are a lot of quartal harmonies, whole tones scales, and juxtaposed fifths, so be prepared for a lot of dissonance. This piece is exciting to play (and hear), but don't say you weren't warned if it gives you an earache.
  7. Lovely, @aMusicComposer! I'm no expert bassoonist but I think that low B may be difficult to play so quickly. Everything else looked great! The song itself is quite catchy. Great job!
  8. Thanks, Luis! I wanted to give the piece some semblance of familiarity, since the harmonies are so unconventional. I also wanted to make the piece seem mundane and create a feeling of "caught in a rut." I hope I didn't overuse the same motifs...
  9. The third installment (and middle movement) in the Icelandic Suite for Piano Solo. This movement is slow and poignant, often even lethargic. It relies heavily on quartal harmonies, diminished 5ths, and whole tone scales to convey a sense of listlessness and loss (my emotions, at least). The inspiration comes from deep mourning and melancholy, looking out on a rain-drenched day. I hope it finds resonance with your soul, too. Also, I'm not sure how I feel about the length of the piece. Bar for bar, it's shorter than the other two movements thus far, but the sluggish tempo makes it longer in duration. I tried to keep it interesting by modulating and varying the melodies/accompaniments, but I'm worried it may become too boring. I'd greatly appreciate your thoughts about this—and about the piece in general. Thanks, and happy listening!
  10. Check out Mars, by Gustav Holst. A great orchestral piece dominated with brass leads. Score located here: https://imslp.org/wiki/Special:ImagefromIndex/05396/hfne
  11. In hindsight, that was a bit catty of me to say that, especially without offering any explanation at all. I'm sorry you felt the need to defend your work, which is absolutely a work of art and uniquely you! I didn't take the time to carefully analyze the piece (as you graciously provided in your response) to see all the differences from Chopin. I see no harm in copying another composer's style and making it your own—most of the greats did that, in some form or another. I've never set foot in a musical conservatory and still have been plagued with well-meaning senior composers telling me to "find my own voice." The issue I take with that—and I think you'll agree—is that some composers like the same kind of music, so they write in similar fashion. It's really an unreasonable demand that every composer write music that is "in their own voice," especially since that phrase theoretically means writing music completely different from anyone that's gone before you. Western music has been several hundred years in its evolution thus far, and I think we've exhaustively discovered what the human ear likes and dislikes when it comes to music... So, unless you want to "revolutionize" the Western music front and go back to banging pots and pans (that is what a lot of modern music sounds like to me), I would have to agree with you 100%: like what you like and compose what you like! It seems that you are doing just that.
  12. @Luis Hernández Once again, thanks for your kind feedback! I'm glad this piece was a little more to your liking. @panta rei You're right, I should have been more explicit in saying these were the emotions I felt in this piece. I'd love to know what you were feeling, however. (It's always very interesting to me how the same music can evoke so many different emotions among the same listeners.) I have not heard of Vladimirov but I will definitely give him a listen! Thanks for the suggestion! @SergeOfArniVillage I appreciate your thoughtful feedback, as always! I agree that moving the riten. to 125 would greatly help the transition there! (I'm hoping a live player can smoothen out much of this piece—including those jarring sforzandos that are little too sforzed, in my opinion.) The next movement (still working on it) is called "Harma," which simply means "lament" or "cry."
  13. As always, quite beautiful, Oscar! My only complaint is that there are never scores to accompany these wonderful performances!
  14. The second installment in this suite for solo piano. (The first movement is located here.) This movement, entitled "Dans," is not a literal dance; rather, it represents the rhythm that pervades this thing we call life. The work uses a lot of whole tone chords to convey mystery, and the rhythm is in an unsettling 5/8 time. There are passages of great unrest, confusion, joy, bittersweetness, loss—the whole gamut of human emotion. I tried to keep constant movement throughout to symbolize the onward march of life. As usual, this piece is impressionistic in style: quite tonal, but chord progressions are rather free, and the key changes many times. Try not to focus too much on the melodies, but rather on the imagery the piece evokes. It will take you places (hopefully!), especially once your inner metronome jives with the strange rhythm pattern. This movement contrasts a great deal from the previous one. It tends to lack a home key except in a few passages. There are less places to "catch your breath." And there is little counterpuntal material. But there are some similarities, as well, which I hope you will pick up without my giving it away. 😁 As always, I look forward to your comments/criticisms/suggestions. Happy listening!
  15. @arkinfes Wow, I don't see much aleatory music on this forum! Lots of inventive articulations among all the instruments, with—as the title implies—lots of interruptions. The instrumentation is colorful and the composition has a 1960s espionage feel to it. You've clearly had it performed (congratulations!) so someone thought it was worth putting on a program. From an audience member's perspective, however, the piece felt too long and incohesive. It sounded like there were three distinct sections with no shared material between any of them. But I could be completely wrong... The middle section, starting at around 3:30, was my favorite. I look forward to seeing the score!
  • Create New...