Mooravioli

Hey Vince, Thank you truly for your kind words. It was definitely a learning experience, both in terms of meeting new people and composing. I felt that the two weeks were intense but I guess it was worth the money I've paid, since the recording came out great. very glad you enjoyed my piece.

Hey Mark, Elated that you like my work. I haven't listened to any Milhaud, but thank you for sharing. I know he has a lot of jazz/popular influenced works, like this samba: The work you sent seems to derive a similar style, especially the second movement.

ah, I see your point now, brotha. Since I've tried to emulate a more "jazzy" style, there is probably a lot of improvised-sounding sections. At that time, I wasn't sure how to develop the theme since it doesn't really lend itself to motivic transformation, at least in the classical sense. I just had to, most of the time, repeat it with slight variations and different key schemes throughout the piece. You're actually right about the ostinato being the center of attention from bars 1 - 20; it makes its full appearance at b.21. Now that you've mentioned it, I can't stop unhearing the piano ostinato in the B section, perhaps there are balance issues there too. Thanks for clarifying your thoughts, peter. I am glad you found good things about my piece.

peter, It is unfortunate to hear that this work did not appeal to you much(sad trumpet noises*). I think I actually did a lot to include the main theme in much of my work: the melody from m. 9 reappears in m. 30, m. 44 and m. 48(as an inversion). The B section itself is based on the same theme, while the C slap-tongue section utilizes a different material. I guess the theme isn’t as easy to follow since it has a quirky meter and twists + turns. Thank you for commenting on my use of extended techniques tho, always good to exploit my performers fullest potential(apart from the percussion).

very nice, I look forward to it (always good to introduce simplicity into the mix too) and thanks for giving me a like on my old post!

Hello Peter, A masterful work which integrates many unique and lovely textures, as well as colorful dissonances. I especially liked the string quartet variation, which I thought was quite original of you to include. Although the piece remains in e minor for much of its duration(apart from the later variations), I feel there are so many distinguishing features in the compositional process that shift the focus away from modulation, and I must say that this is not easy to do(as a composer who relies too much on modulation). With this, you are building a really interesting, modal harmonic language. I also admire the way you've woven the different themes together to create a rich, dense texture. I do think it would be a nice contrast if we could have a clear melodic line/homophonic idea in order to introduce a specific theme. Hey.. its just an idea. But I am also surprised you're not using microtones in this piece because to me, its probably a part of your style at this point. 🥴

hello peter, long time no see, I can see you are really delving into your experimental side. You’ve also managed to incorporate artificial harmonics and sul ponticello into your short piece, which comes across quite well. My only gripe is the main theme itself, while memorable I think there should be a lead in into the second phrase, as to maintain its momentum. great job making full use of the resources musescore has to offer. I am excited to hear how you develop your individual voice, as you dig deeper into complicated musical techniques.

hey @Marius_, thank you for your detailed comment, brother. I appreciate your comments on harmony since I am attempting to explore a new language in this work. Naturally, sounding authentically jazz is still out of the question since I am only mildly familiar with this genre. As for the improvisation bit, I’ve had the chance to work with the performers themselves, and suggested that they add a few grace notes/rhythmic alterations to the existing melody. This is probably more appropriate considering they are classical musicians, who aren’t as well versed in improv. A few ppl have told me to change the sax instrumentation to tenor saxophone. When I have the time, I will definitely give it a try in muse and change it to concert pitch too! thanks again.

hey man @therealAJGS, thank you so much for your kind comment. I’ve just replied to you on youtube as well.

Hello Everybody, It has been another long while since I've posted but I've definitely been composing during my time away. This is a work written for a 2-week composition festival I attended, lots of great opportunities and people when I was there. The festival is called the "ICEBERG Institute"(https://www.icebergnewmusic.com/about) if you're interested. Anyways, hope to hear your thoughts on this piece in regards to harmony, melody and rhythm. I am trying to work in a new(jazz?) idiom and I'm not sure how it sounds to others. Thank you for the support

Henry, I apologize for taking so long to reply to another great piece of yours. After many repeated listenings, this is clearly a programmatic piece in my opinion. There is anguish, anxiety and a false sense of repose. The juxtaposition between light and heavy themes, minor and major works effectively to convey the message of your piece. I have a few reservations about the random pauses that come after the blues. I feel they interrupt the flow at times, and as for the blues itself I think the f double sharp in the theme would sound better if it were changed to a g sharp. Those are just my thoughts tho; the climax and the aftermath of it is quite well done. I am glad you were able to find peace and transcendence in your sextet.

An Incredible orchestral landscape. I think you captured the loneliness of the piece quite well; the pedal effects are achieved naturally by the sustaining quality of the winds and strings. Just keep in mind, those triple and quadruple pianos may be hard to project, if you get a real ensemble to play your piece. It’s interesting to hear how differently you’ve approached this prelude as compared to another recent orchestration: Of course, I also hear similarities but I do really prefer your choice of instruments. There seems to be more drama and depth of feeling.

Hello Vince, Thank you truly for your kind reply. I am glad you were able to find a few notable things from my endeavors. You know, I would also do the same if I were a composition teacher; there seems to be a new demand for good-quality beginning-intermediate pieces since the current repertoire, in that area, is not very good. It would be nice to encourage composers to explore pieces/styles for new learners. Hope to keep you updated with new pieces.

Hello Aw Ke, Thank you so much for your sub, brotha. Happy you are supporting my new channel. I definitely agree with both of your points, there are quite a few unmanageable chords in the third piece, especially for children. I'll try to simplify it more when I get it performed by other ppl, though, to me, it seems a little strange to have the Ossia be a simplified version of the original. Should I correct the original and have the Ossia be the harder version?

Hello Alex, Thank you truly, I am so glad you enjoyed the pieces. Ravel is definitely one of my favourite composers so it isn't surprising his harmonic language influenced me. stay tuned for more works.