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SYS65 last won the day on February 26 2018

SYS65 had the most liked content!

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372 Excellent


About SYS65

  • Rank
    The Keeper of the Legacy
  • Birthday 02/16/1983

Profile Information

  • Biography
    A Composer, Piano, Sax, Bass, etc player
  • Gender
  • Occupation
    Pianist, Repair Computers, Organist,
  • Interests
  • Favorite Composers
    Mahler, R.Strauss, Prokofiev, Shostakovich, Scriabin, Stravinsky, Orff, Gorecki, Holst, Honegger, Debussy, Ravel, Holst, Khachaturian, Respighi, Sibelius, Grieg, Poulenc, Bartok, Barber, Bax, Scott, Jongen, Lyatoshynsky, Berg, Takemitsu, Dutilleux, Rautavaara,
  • My Compositional Styles
    20th Century Orchestration, Electronic, others.
  • Notation Software/Sequencers
    Sibelius, Cubase, FL Studio,
  • Instruments Played
    Piano, S.A.T. Saxes, E.Bass, Organ, Clarinet, Violin,

Recent Profile Visitors

16,338 profile views
  1. If one takes a look to the comercial music, Rock, Pop, R&B, Soul, Disco etc, tons of different voices can be found, many are complete crap but some others are quite good, there are enough for all tastes, but in serious music is practically the same style, yes in Renaissence and Barroque is a little different, but is only like the previous version of the same thing. Today we have operas with serialism, algorithms, mathematics, electronic resourses, a lot of "new" elements but honestly they keep singing like it would be Rossini. Maybe Opera will be a difficult field to start the change, but maybe in a smaller form, like a simple Piano + Voice lied, could I imagine the piano supporting a voice like Sade, Suzanne Vega, Leigh Nash (Sixpence none de Richer) is it too crazy idea ? Each one of these kind of singers is like its own style per own, but I think it could be possible to start creating new styles and even teach certain techniques and somehow define those styles, because right now is like "Bel-Canto, and the rest", for instance I have noticed in music schools, (at least what I've seen) many people go to the school because "they like to sing" but they don't even like the "bel-canto" they have in their minds something very different, and instead of developing those talents, they drawn their voices into a world they don't even known, understand, like or even wish. Recently I've seen a couple of new ideas by composers, for instance a work "for Orchestra and Rap-Singer" perhaps I'm now the only one with this idea.
  2. Hey, I don't know you, but I, I really don't like the Bel-Canto in singers, I mean I can stand like 3 or 4 famous singers for a couple of minutes, but not the 99% of the rest of people sing like that, now, why is it that ALL Opera or Concert music has been always hopelessly tied to this technique, and remains tied in present ? So if I write an opera, or any sort of musical form is to be preformed in a concert, or just considered as part of non-comercial music, will be forced to sing like that ? There's no way to avoid that ? I understand the history of all this, but now we do have technology to use microphones or any other sort of help, I mean it's just matter of get opened to other possibilities, but nobody seems to even try, do we have to start writing vocal music asking (somehow) for an specific technique is not the Bel-Canto ? There's any hope we can turn off that vibrato please ?
  3. They did play jazz, watch 8:38, and then watch whole video if in doubts.
  4. Yes, we had that feature but it's not currently available, maybe we'll get it back soon.
  5. Thank you all for your comments, I think it will automatically sound more vivid in a real orchestra, I used the libraries into the Sibelius so I didn't program the modulation as it should, so it does sound with lack of dynamic contrast, later I might create a new recording.
  6. I would just add that the lowest C in 32'' is normally out of range, is only possible if you modify the tension of the patch and move all range 1 whole tone down, the lowest note is D. Also, not all orchestras have the 5th timpani.
  7. You and the Rain, for strings orchestra. A piece I wrote in 1 day, having a cold, being unable to go outside, waiting for my girlfriend to come to see me, while raining outside... Never have written so fast before, definitely she makes the difference.
  8. Almost all XVII, XVIII, XIX Centuries works, with some exceptions.
  9. Maybe is the harmonics glissandos in strings ? is a quite weird effect but it is sounding 100% real in recording since the library I use for strings has the sample of such effect, this in addition to the vibraphone and the rest makes the whole thing. This kind of effect: (just I didn't use the sul-pont)
  10. I live (always have) in Querétaro, Mexico, and Mexico is a country has never cared for their composers, artists, culture, not even education, so bad is this problem that I just quit my job at the local conservatory after 5 years, because there is no future at all, the institution is going down more and more and I decided not to drawn with it. Right now I must find another solution to make a living and yes, in the future I would like to see the posibility of moving to another country, but right now I think is not possible. Some day I'll take with me all my scores and show them to some people might care about it. for now I can only say I do like the results I have been having.
  11. Thank you, I will never stop composing... first they said april 21 then said they were delayed with it and still checing scores and set august 8th and it seems nothing will happen, these competitions do nothing but put me very stressed when the results day approach, since I've never had a premiere and would be such a nervous day for me. Anyway, I'm already thinking a new work with this language but more complex, larger orchestra and choir, I hope not to delay too much writing it. Thanks.
  12. Well, results date came and left and nothing at all... I guess I didn't win anything (like always) maybe Bartok was right, competitions are for horses... Thank you all for your comments, I hope to post something soon.
  13. Write all parallel 3rds or 6ths, also make rhythmics parallel, nothing of counterpoint, countermelodies or textures, just make them all speak at once, write ffff always (they'll play it like that anyway) nothing of legato, everything with accent and make fast notes very staccato, use very simple harmony and everything what is happening in this video.
  14. Hey, thank you both for your comments, I'll check those cymbals but that changes from one speakers to another.
  15. Sounds like a 70's track possibly soundtrack, something like Francis Lai or maybe early Morriconne, have you tried Shazam ?
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