LayneBruce
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Let me know what you think!
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Thank you so much!
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My new piece inward and outward for solo cello, let me know what you think! link to video - https://drive.google.com/file/d/1MOlDkXuxEFvl2de9HGk0YG6wrlzijTCN/view?usp=sharing
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This is definitely one of my favorite pieces iv'e heard on this site. The harmony and overall structure I think is fantastic. One thing I think you could add is more battery percussion at the climaxes. Loud bass drum rolls, timpani rolls, and tom runs will make it even more exciting. Take for example the end of Manslankas symphony four and listen to how the percussion cuts through at the climaxes. If there is a lot of battery percussion its not coming out of the mix as much as I feel it should personally. But in the end it is up to you, the piece is already great.
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It is simply to make reading easier, sure there is no urgent need for it, but it's easy to implement and may speed up the learning process for some performers and aid in sight reading - which is especially important for composers who only get their pieces sight read. (AKA many college students)
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One thing you can do that I have found to be effective is to set some kind of hard deadline. You will be forced to come up with something, and often a time limit inspires more creativity/problem solving than really thinking about something with no clear goal in mind. The more you do this the better your ideas will become. This is the reason many musicians/engineers/writers purposely set deadlines despite not REALLY needing one.
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First time I noticed it was measure 33, I think bass drum could help drive the momentum forward, and then in measure 71 some loud bass drum hits will make the arrival more dramatic. it sounds great as is, it’s just rare to see bass drum excluded from percussion instrumentation, especially when there is a snare drum. Might help keep everything together tempo wise as well (not that this was really an issue)
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In this recording the feedback is set to 75%. I didn’t post the notes page of the piece but it says feedback should be at least 75-100%, but at performers discretion.
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Well, I meant it in a more rubato kind of way. It’s actually supposed to be performed with a click track but the rhythms can be played somewhat freely within the context. Also the performer can go a faster or slower tempo if they please.
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Just wrote this insanely fun piece for amplified violin. The trick to the piece is that the violin is delayed throughout creating an echo effect. This allows for fun horizontally formed harmonies and an overall nice atmospheric mood. Let me know what you think - also the score may have some slight differences to the audio. Perspectives.pdf
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I don't think you quite understand the meaning of atonality (which is a very abstract term that you need to define more in this post). Atonality is generally absence of tonality, so thus this simple definition rules out polytonality due to the fact that there is... multiple tonalities. Also this idea that there is no harmony in atonal music is a little ignorant to the definition of harmony, not all harmony has to be a cadential figure, in fact harmony can be more than just vertically aligned, and interval series could be considered harmony as well. Also just because something sounds unstable and dissonant doesn't mean it is atonal, there are plenty of key centers in Mars and the Gymnopedies despite their RELATIVE dissonance. Tldr- using a lot of tritones and minor 2nds doesn't make something atonal if there is still a key center.
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Im assuming this is based on Handels Passacaglia in g minor considering it borrows ALOT of ideas from it. I think it does well in this context, however I would consider slightly changing parts such as m.46 in which it uses the exact same pattern as seen toward the end of Handels Passacaglia. It's always okay to borrow ideas, I just think it might be good to change it slightly so you don't end up recreating a piece, knowingly or unknowingly. Otherwise sounds good!
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