Jump to content

SYS65

Members
  • Content Count

    3,036
  • Joined

  • Last visited

  • Days Won

    57

SYS65 last won the day on February 26 2018

SYS65 had the most liked content!

Community Reputation

372 Excellent

3 Followers

About SYS65

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

Profile Information

  • Biography
    A Composer, Piano, Sax, Bass, etc player
  • Gender
    Male
  • Occupation
    Pianist, Repair Computers, Organist,
  • Interests
    XRG
  • 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

16,512 profile views
  1. Hello, Do you think would be possible to contact Arvo Pärt ? do you have an idea how would I be able to send him a package to a physical address, or somehow be sure he will recieve it ? What for ?, is not important for you, but I assure you, I won't send him a bomb, he's such a respected wonderful composer, a living treasure.
  2. SYS65

    Who chases who

    perhaps you mean near the ending ? I did struggle a bit pasting the piece with the ending I was already written before. Thanks for your comment.
  3. SYS65

    Who chases who

    They are all to be treated as chords, large chords like in jazz, classical pianists don't usually do this but in jazz is very common to press two keys with one finger, specially the thumb, so they are actually very ergonomic if you're used to play like that. I wrote with small notes the notes can be omited in case pianist doesn't feel comfortable with that, but is intended to sound exactly how is written. I'm glad you find it good, thanks for your comment.
  4. Hey, Long time since my last activity, I guess I'll look new here, but I'm not. This is a little piece I wrote for a half joke half serious commission made to me by a percussion student in the conservatory I used to work, he just told me once "hey when you write something for marimba ?" i just said "yeah someday". This is it, is not very hard to play, he plays with two sticks only, hasn't been performed yet anyway. After finishing, while listening to it, it came to my mind a sort of Tom & Jerry behavior between the marimba and the piano, hence the title. Greetings to my old friends still around.
  5. 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.
  6. 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 ?
  7. They did play jazz, watch 8:38, and then watch whole video if in doubts.
  8. Yes, we had that feature but it's not currently available, maybe we'll get it back soon.
  9. 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.
  10. 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.
  11. 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.
  12. Almost all XVII, XVIII, XIX Centuries works, with some exceptions.
  13. 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)
  14. 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.
  15. 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.
×
×
  • Create New...