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Jean Szulc

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Jean Szulc last won the day on October 2

Jean Szulc had the most liked content!

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About Jean Szulc

  • Rank
    Advanced Member
  • Birthday 06/24/2001

Profile Information

  • Gender
    Male
  • Location
    Brazil
  • Occupation
    Composer
  • Favorite Composers
    Camargo Guarnieri, Charles Ives, Haydn
  • Notation Software/Sequencers
    Sibelius
  • Instruments Played
    Electric Guitar, Piano

Recent Profile Visitors

127 profile views
  1. I love it. Have you produced any sheets? It would be very useful if you expect to get some feedback on it.
  2. I quite like this! What I'd point out about this (and some of your other pieces) is the lack of slurring, and sometimes dynamic markings. It's good practice to determine the interpretation to the best of your skills, not only because you guarantee that it will at least resemble the interpretation you had in mind. Also, because as we now have midi sounds that can reproduce with some acuracy the instruments in real life, we can sometimes lose the ablity to picture them in our heads. If you get deep into specifying the interpretation you intend for the parts, you make sure you are thinking through every note and are able to internalize them. Also, something else I feel could be improved in your pieces is your use of cadences. I believe that the way you currently use them is quite limiting. There are too many strong cadences, which makes the whole piece sound "chopped". Try not cease melodic/harmonic movement so often. That way, not only your form will work better, as you'll be able to mask it and make it work in favour of the music, not by itself, but you will be able to work on longer projects without sounding like you glued together a bunch of diferent pieces. As for the piece itself, I don't have much to say besides that I like it, as I've never used this scale in much of a depth. I just felt like this piece contained the same issues that bug me in your other pieces. I hope I was able to help with something. Best wishes, Jean.
  3. Hey! I think I should point out a few things. If you decide to add a violin to the piece, it's important you note it down somewhere. If you want to have only this recording of the piece, it won't be a problem, but you expect it to ever be performed, it may be quite confusing to have a violin that play only for a few bars in the end and that wasn't "announced". Also, as you decided to add a violin, why not develop it a bit more? It would probably be very boring for the violinist to play that line, and it also sounds a little inconsistent, as it doesn't appear anywhere in the piece ever again. Also, I'd experiment more with diferent textures, so that the music doesn't have only one "feel" to it. Besides that, and what @Monarcheon said, I think this is a nice piece. Best wishes, Jean.
  4. Hey! Thank's for the feedback! I get what you mean. I've been in a very rigorous study schedule lately, so I'm experimenting with ways of exposing my intentions that are not explicited in the books. It doesn't work every time, and I think the second movement is an example of a situation in which I feel it didn't. It's a bit stale, altough it has its charm. Thank's for listening! Best wishes, Jean.
  5. I love this! It reminds me of "The Nightmare Before Christmas" soundtrack, which is a masterpiece, and one of my favourite pieces ever. (I meant that as a huge compliment) Every thing feels in place, and I would definately listen to more of it! Good job! Best wishes, Jean.
  6. Hey! I quite like this. However, I think the rhythms could be worked a bit. I feel like the tenuto you're using will sound better if you have a slower tempo. Personally, I believe that if you want to keep this tempo, you should connect the chords a little bit better, maybe adding a long pedal note, adding a bit more rhythmic diferenciation between the voices, etc. That will better showcase the harmonic material you have going on, which I feel is weakened by the current arrangement. This piece has potential, but it needs some more work. I hope my opinion was of any help! Best wishes, Jean.
  7. @Quinn This kind of lydian feel created by 2 major chords a whole step appart over a pedal note is really nice. It's used by Joe Satriani in "Flying in a Blue Dream" almost exactly like that. Really recommend listening to that song, it's great.
  8. Hey! That's a really promising start! I like your harmonies, and I think your melodies fit the tone and are well placed/built. Something I'd point out, is the lack of textural diference between parts. As the piece is very short, it doesn't become a problem, but if you ever want to expand this, you may want to add a different acompaniment (other than blocked chords), add/remove some of the voices, explore other registers, etc. so that you don't saturate the listener with the same mass of sound throughout the entire piece. I also feel like the piece has a shift in feel. It starts as being playful and "happy", and rapidly moves to a more dramatic and melancholic feel. It's not a problem, but I feel like that wasn't intentional, as the happier theme isn't developed throughout the rest of the piece. It's just something to think about. Also, if you haven't yet, I'd recomend producing sheets for this piece, so that we could better analyse it. I hope my thoughts were of any help! Best wishes, Jean.
  9. This sounds really good, and I think you handled it very well. I agree with that. However, not having the violas play divisi might have a distinct sound and may be very pleasant. Maybe asking to play both the notes on the double-stop as being sort of arpegiated would be a nice touch. Like this: Best wishes, Jean.
  10. Hello everybody! I've just posted my first string quartet, called "Impetuous". Here's the link for it! I was very much inspired by Villa Lobos' 6th string quartet, and wrote the first movement with it in mind. It's called "Impetuous" because I was trying to convey the sense of progress and continuity through rhythmic impetuosity, instead of using harmony or any other technique to do so. Therefore, the staccato sound and counterpoint/imitation was of great use. Also, I'm currently working on the third and last movement of a Sonata for Oboe and Piano, so if you're interested in listening to it, please subscribe to my Youtube channel. I genuinely hope you enjoy the piece, and would love to get feedback on it! Thanks for your attention! Best wishes, Jean.
  11. Hey! It's quite hard to give opinions on a piece without the sheet music. Could you post the sheets so that we could better analise it? One way or another, some parts sound very pleasant! Best wishes, Jean.
  12. It was quite a pleasure to listen to this! I think you were able to create a nice ambience with the orchestra, and the most dissonant parts are well placed. Also, the MIDI does no justice to the piece. I had a hard time trying to listen to some of the instruments, and it would be very pleasurable to listen to an actual performance of it. In my opinion, this is a great work, and I hope to hear more! Best wishes, Jean.
  13. First of all, this is only my oppinion about your piece. If you like what you have, just keep it! I get your point, however, it's not the quantity of fast (16th) notes, it's how you use them. You could probably even add more fast passages if they were organized diferently. For example: you may have two entire measures full of 16th notes and then one with passage with half notes, so that the listener processes the passage. You actualy have that, but as transitions. Also, instead of making the fast scale-runs up and down, try remaining in one location for a bit longer, (must be noted that, as this is a short piece, 4 measures are already a long time). Overall, I just think that the way you used the 16th notes create passages that aren't fast, but that also aren't slow. Defining your very fast passages from your rests will make up for a more "playful" sonority. It's also good to note that I'm only making this point because it is something I often feel happens in my music. It's important to balance every aspect of your music, even in scenarios like these, where you want you piece to sound humorous. Once again, I hope it helps! Best wishes, Jean!
  14. It depends, as you can change it throughout the piece to bring the intensity you want to give to each part.
  15. Well, I'd say that the thing you have to consider is: Does this need more time/do I want to expand this? If you're inspired to continue or feels it still lacks some development, go for the sonata form. Also, I'd point out a few things about the piece itself. I felt that the themes require some silence or or at least some longer notes for the listener's ear to grab on to. Right now, I feel like the humorous character you intended for it is weakened by the lack of pauses of some sort, making it sound more "restless" than "humorous". Insted of going up and down, try addding a few ornaments to create that humor. You won't have to move up and down an octave every measure and can still sound very playful. Listen to the third movement in this piece (by Mozart) : It sounds very playful, and adresses the thing I mentioned earlier. I hope I was able to help! Best wishes, Jean.
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