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About LayneBruce

  • Rank
  • Birthday 11/07/2001

Profile Information

  • Biography
    12th grader attempting to start a career in composing
  • Gender
  • Location
    Austin, Texas
  • Occupation
  • Interests
    composing, traveling, watching and listening to live music, adventuring, learning, creating, movies
  • Favorite Composers
    Bartók, Maslanka, Bach, Rautavaara, John Adams, Michael Daugherty, Ivan Trevino
  • My Compositional Styles
    Contemporary classical, various chamber ensembles, percussion ensembles, concert band, piano, marching band, drumline
  • Notation Software/Sequencers
    Musescore, handwriting
  • Instruments Played
    Percussion (drumline and concert percussion), Piano/synthesizer

Recent Profile Visitors

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  1. Hi! I wrote/arranged this piece for the Lake Travis High School Indoor Marching Percussion for their show entitled Ghibli. Very challenging drum parts, source material is the soundtrack to the movie Spirited Away. Enjoy
  2. Had fun writing this crazy piece. Probably not the finished version.
  3. Enjoyed measure 13, wish you elaborated more on the pizzicato section there. By far the most coherent piece i've heard from you. Nice!
  4. Haha exactly what I’m trying to figure out, I think if do a consonance to dissonance progression into the 2nd half it will blend better. I don’t know of any textbook ways to go from tonal music into like contemporary blues, etc. Maybe just a guessing game until I find something that I think works.
  5. A sentimental piece capturing Christmas time in my home city of Austin. Austin is well known for its music seen, nicknamed the Live Music Capital of The World. Austin is most known for it's heavy blues seen, which I attempted to incorporate into my piece through the use of blues scales and a drumset part in the percussion. Right now it is pretty short, might develop more material later. Thanks
  6. Small chamber piece I did for fun. Let me know what you think. (note that this is for beginners, not supposed to be super complex) A nocturne for marimba choir.pdf
  7. This might not be possible in the given time you have, but if there is a way to get your score through a different software that maybe looks a bit nicer I would try that. General information is to try expanding your harmony a little further, colleges like to see you explore modern harmony, you don’t have to be atonal but using more non standard chords and progressions will help. Also make sure you have a good explanation of why and how you wrote this piece. The why is usually the most important for colleges because it shows you can put thought and care into what you are creating. Hope this helps
  8. Do you plan on getting this performed? From personal experience coordinating 2 piano players in an ensemble is hell. Do what you want but keep in mind how realistic the logistics are, maybe add another wind instrument rather than another piano. Pieces for 2 piano are almost always difficult to synchronize and often produce unfavorable results (unless you are working with extremely advanced players and have lots of rehearsal time to kill) Also keep in mind the sonorities between 2 pianos will become washed together and it will thus be hard to differentiate each instruments line in say a symphony. In more contemporary pieces it makes sense sometimes to use 2 pianos because typically each piano has a very different timbrel role. Take this with a grain of salt but I personally would stay away from two pianos in a piece like this.
  9. Ahahah yeah that was not intended, unfortunately none of the pieces (except for cry blue) sound like they should in the midi. The staccato marimba eighth notes is supposed to be a soft sustained roll and some (most really) of the percussion sounds aren't even close to the instrument that I stated in the music. Im trying to get a recording in a few days but it's very difficult to find performers while on a budget. Oops, thanks for pointing this out to me. The midi version is the correct version (somewhat) somehow the score didn't save properly. Transitioning and order of ideas is definitely something I struggle with I will keep this in mind! Yeah this is definitely something that I looked over entirely. Thanks for pointing it out! YES! exactly what I was going for, thanks for that. I haven't written the program note but without any context I see where your coming from. The horn + piano pieces are based off short stories - this one being about an unstable mental asylum - hence the chaotic randomness/dissonance. ESPECIALLY - where the piano is doing forearm chords as harmony in the left hand! This is a problem that I feared, this part is supposed to be melancholic so I might have to do some last minute interval adjusting lol. Haha once again midi getting in the way. Those are "supposed" to be the french horn player plucking the piano strings in the upper registers at random intervals to make a kind of "magical" sound with the piano contrasting against it. unfortunately the midi cannot due this so it makes french horn noises that are unrecognizably high pitched. will keep this is mind. Thanks so much for such a detailed response!
  10. Week before college pre-screening and this is what I have Let me know what you think! Cry Havoc!: Cry Havoc!.pdfCry Havoc! audio.mp3 Cry Blue: Cry Blue.pdfCry Blue.mp3 Short Stories: Short Stories.pdfI. Missing Person - Very Slow.mp3II. Ward no. 6 - Fast.mp3III. The Happy Prince - Broadly.mp3IV. The Magic Shop - Moderately.mp3V. The Sound of Thunder - Fast.mp3
  11. Thank you! That might be exactly the kind of theme that could help me think of a name and be a motive for future movements! Very much appreciated!
  12. Sounds nice, not sure what you are going for but in my personal taste it gets a little too simple as far as repetition, harmonic chord structure, and the role of each instrument. It would help to see the score to visualize it but by the sound of it you don’t really develop the theme you start with much. Still, if you are going for simplistic maybe even film music vibe it fits the category well.
  13. It's a good start. I think the main criticism I have with this piece has less to do with counterpoint and more to do with your pretty bland theme and harmony. Instead of half notes going straight up the scale think of how you can make it interesting rhythmically and melodically. That will make the harmony more interesting if the notes aren't completely within a very small box. Listen to how Bach starts his fugues and how he develops the material. Yes, he stays within a certain formula in terms of harmony and melody, but you will find the way he develops his themes is never repetitive and always stays interesting. Listen to his fugue in f minor WTC 2 and see how he starts off with an interesting motive that he develops throughout the piece.
  14. Very nice structure and counterpoint. I think the dynamics in measures 37 etc. with the crescendos and decrescendos may be a little out of the style and could be notated more efficiently. To avoid the redundancy and hassle of writing a crescendo and decrescendo every measure you may want to consider simply notating it once and applying a "sempre simile" to the following measure to imply the shaping and to avoid messy notation. Other than that very solid and clean.
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