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Tortualex

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Tortualex last won the day on January 29

Tortualex had the most liked content!

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About Tortualex

  • Rank
    Advanced Member
  • Birthday 11/09/2002

Profile Information

  • Gender
    Male
  • Location
    Mexico
  • Occupation
    Student
  • Interests
    Music, videogames
  • Favorite Composers
    Beethoven, bach, Tarrega, Chopin, Vivaldi, Locatelli
  • My Compositional Styles
    Classical
  • Notation Software/Sequencers
    Musescore, Fl studio, Reaper
  • Instruments Played
    Classical Guitar, flute, Piano

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  1. Bağlantınız koptu :C . Diyor ki: sayfa bulunamadı. Umarım anlaşılır, türkçe konuşmuyorum öyleyse çevirmen kullan
  2. Dsus2 C G thore are your chords? If I were you I'll go for this progression Dsus2 C G Am it is like a subdominant circle (Talking about functions) Just work with that progresion a while. Also at some point you can make it more tonal like using the circle of fifths. In some instance Instead of a Am play a E and then you go to an A and use that to go to a Dm finally resolving that sus2 that you were playing. And then you can go to a G and resolve it to a C and make it in C major, or even minor if you want too modulate but, C minor is a bit difficult on the guitar xd. (Just some circle of fiths. I recomend you to make some melody not just arpeggios, that would be boring, making the melody is up to you. If you want to learn to compose the basic thing is knowing harmony, you can start with tonal harmony, tonal harmony is the one based on the circle of fifths. Composing is 20% knowledge, 10% Creativity and 70% practice. You need to practice a LOT to learn to compose.
  3. You can make it resolve in the last bar just by simple adding a G in the top of the D, you don't fell like it concludes because of that D. Also your final cadence is very weak, if you want to make it sound convincing you should put some subdominant harmony instead of the tonic that you write or make use of the tritone. If I were you I'd write a trio section to make it a minuet and trio. And in the second repeat of the minuet you can add a 3rd voice to complete the harmony.
  4. I always wanted to make something electronic, but I'm pretty bad at it so, here's a sketch of a "piece"(?) that is mostly electronic. Just audio because, is hard to write a sheet of this. is not finished Btw it is a 6/8, and if it helps, the progresion is Im, IIIb, VIb, V in C minor. Any comment is apreciated :3
  5. The Kokyu is a MUST is so caracteristic of japanese music (or that's what films have made people think...), in case you don't know is a violin-like instrument. it can play the main melody. The koto is a plucked string instrument, that's caracteristic on both japanese an chinesse, can be used as an arp acompaniment, or to make some contrapunct but, it isn't too common. The eru is the counterpart of the kokyu , is the chinesse violin, could be use to make some nice harmonies with the kokyu. Pipa, very similar to the guitar, can be used as acompaniment. Also one think to take in count is that, japanese music tends to be more melodic while chinesse tends to be more percusive and overral has much more energy than the japanesse (no talking about ALL the pieces but most of them) chinesse percussion: gongs, temple bowls, bass bangu, stone quin etc... Japanesse percussion: wadaiko,, bin sasara, denden daiko etc... most of this instruments have a occidental "counterpart", that with some interpretative techniques COULD sound similar, also take in count that oriental music uses scales that are different from the ones we use, in internet you can find some useful tutorials and books.
  6. He means a response by me about the video xd. I like it, the sound is a lot better from the one of musescore I'll probably check out sibelius, but some dynamics like the fff of the contrabass were because the sound fount of the contrabass was almost inaudible if I let it at the same dynamic than the other parts (in musescore) so, I'll correct that when I have some time. Thank you for showing me how it sounds, I really apreciate it :3.
  7. Here it is :3, I'm curious to heard it. Passacaglia.xml
  8. I would classify my music as neoclassical. I use the symethrical phrasing of the classical style, basic harmony of tonic, subdominant, dominant in that order most of the time. And, IDK if this could be considerer at the time of classifying but, almost ALL of my pieces are in minor, only 1 or 2 are in major, in my early works (not much time ago), my music was only in minor, nowadays I use major as a secondary tonality. That's because when I compose something in major, it just sounds awful. Also, my melodies tend to be very skippy and i use a LOT of arpeggios, my music is quite simple. I consider myself as a very very young musician that has a LOT to learn.
  9. Im trying to write a full IV movement piano sonata, I have finished the 1st movement, but I'm having trouble with the following movements. My plan is this: I. Moderato-Allegro Sonata form II. Adagio, Rondo form or theme and variations (I'm not pretty sure about the B part) III. Allegreto Scherzo IV Presto or Allegro vivace Rondo sonata form I have composed a little of the second movement, Does it fit the first movement well? Also I have composed the first theme of the IV movement, I wanted to "recapitulate" some of the ideas, so I used same harmony as the first movement, but it doesn't convince me so much. Any feedback is apreciated :3.
  10. All the keys are the same, since we use the equal temperament. Different emotions in different keys were actually a thing, some years ago in the 1600 to 1800 when a lot of temperaments were used, like the mesotonic, pythagorean, barroque well tempered, werckmeister III, Neidhardt III etc. For example, in the mesotonic temperament C# minor was considered the "voice of the ghosts" due to his slightly smaller minor third, that made it pretty dissonant. Another thing that can make keys brighter than others are their positions on the piano (pitch), keys like B, C, Db, D major or minor are very high or very low in the register, but other keys like F, G, A major and minor are in a most "balanced" position in the register. Another thing that may influence is the cultural factor, the history has made us believe that A major is a very romantic key, in the other hand C minor is heroic, emotive, and nostalgic, so, the pieces that are composed in "that" tonality, can affect our perception of the key overall. Just to comment a fact: In the barroque times D minor was considered the saddest of all tonalities, but if you make some investigation, you'll realize that, in those times the A4 was in 395 Hz, which is a modern G, so... what modern key would be the barroque D minor?, you're right, C minor.
  11. I started composing this almost 6 months ago, but I didn't finished ,until now because I run "Dry" of ideas. I used an harmonic ostinato by circle of fifths that repeats during all the piece. I haven't decided the dynamics very well, and don't sure where to add some more slurs. First time composing for string quintet, and for strings in general, hope there are no parts impossible to play. I add 2 audios, one with strings sounds and other with just piano, because some details are hardly noticeable because of the sound I used and my poor mixing. Any feedback is apreciated :3
  12. I'm going to answer while I listen. Is the bass in the A section of the A section(bars 1-8 and 23-30) too dense? Well, that depends on who is listening, for some people it could hide the melody a bit and make it lose some protagonism and focus. In the consequent phrase(bars 5-8), is the bass too close to the melody? Should I bring it down an octave? I'm just asking here because I noticed the bass and melody come close enough to form chords in my consequent phrase. No, it is okay, a third of distance is still a secure interval, and you have more than a third of distance, many composers do that, one of them who does it a lot is mozart, also if you down it an octave it will create a very large skip that would be incomfortable to play In the B section of the A section(bars 9-22), am I handling my chromaticism correctly or not? Most of the time, chromatism is used to created, secondary dominants and passing notes on the melody, feels a little odd because it doesn't add to much to the harmony more than a mere ornament. Is it too much of me to expect a pianist to play a polonaise rhythm in octaves for the whole B section of the A section? Well I have do that for a whole piece xddd, for a intermediate pianist shouldn't be a problem Do I smoothly transition into the inversion(left hand becomes right hand kind of inversion) or not? I haven't noticed until I read that xd, in your B section is a little obvious but that's because of the octaves, if you want to hide it a little just make it a single melodic line, to conserve the caracter. Is my A section too repetitive with 2 periods and a motive sandwiched between the 2 periods and the repeat sign? A little, more variety in the motives would help, it sounds like the melody is just repeating the bass Is 30 bars enough for the A section of a piece that I expect to be 200 or so bars long, or should I extend my A section further? if you want to make it 200 bars long 30 measure aren't enough, unless you make yor other sections of 60 measures or so, I don't know which form are you going to use.
  13. The first 5 measures, sound a little, too "harsh" to be a nocturne, but I think that's because of the soundfont you used. Try to consider adding some pedal on those measures. I like your use of irregular groupings and odd metrics, that makes it sound pretty modern but at the same time very classical. The end is misterious, to me it sounds like it should continue, i think it's because you made the bass stop with the last chord, but the melody still keept going.
  14. Well, I know the article is redundant, but you just make your criticize as if you were making fun.
  15. In the first 15 seconds I can't stop hearing "oh fortuna by carl orff", is just like the main motive but incomplete. Feels like ambient music, some that would be in the background of a emotive scene.
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