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maestrowick last won the day on April 8

maestrowick had the most liked content!

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About maestrowick

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  • Birthday 05/27/1977

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    Atlanta, GA; Baton Rouge, LA; Detroit, MI
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    Music, Comic Books, Lindy Hop
  • Favorite Composers
    Brahms, John Williams, Rachmaninoff, Chopin
  • My Compositional Styles
  • Instruments Played
    trombone, euphonium, keyboards

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  1. Fix those divisis in the beginning. They are unnecessary. Just split it between the two sections
  2. Nice. I would like after the brass chorale for more on the vertical line just to push that climax even more. Still, great piece!
  3. 1) Horn goes AFTER trumpets in band scores. Double the horn with alto saxophone since most high schools might not have four horns. 2) The Euphonium, although it can go that low, is muddy in that register and most schools might not have a four valve. Take that up an octave. 3) In this case, present a transposed score, not C Score. 4) Although not standardized, put the soloist in the middle or above the timpani. 5) Don't write for your trumpets on one staff for concert music; split them. 6.) Don't double the soloist with the same instrument. You'll be hard press to find that in solo literature in the canon 7.) Watch your phrasing in the solo. Need some legato phrasing. If you're implying tonguing, I believe that will make this very unmusical. 8.) This is a good start. This movement is far from over. You can develop this another 3 minutes at least. Be careful not to just write on your horizontal plane but think vertically also. It needs that to make this a stronger piece. My $0.02
  4. Interesting. I like it. might even love it. I think I want it to have the full orchestra and not just strings but I get why you did that. I would love to hear this with all the different colors though. Yeah, I might love this...
  5. The String Quartet makes up of three melodies I have used before I orchestrated them for Symphonic Suite No. 1. five movements: 1) Chorale and Prelude 2) Webern (2:28) 3) Cantabile (4:05) 4) Giacoso (6:11) 5) Gigue (7:23)
  6. Man, this is the start of something beautiful. This starts as a american style march. I think it's DYING for either that recapitulated A section to either be in a different register or added counter melodies. Something needs to be different. The modulation to Ab needs to be notated and the Coda needs to be MOLTO BRILLIANTE! It's missing that final stab. you tweak this, this could be a standard! My 0.02.
  7. Not really dramatic: It does flow however like video game music. (nothing is wrong with that) 1) Write the strings for full orchestra, not violins. 2) with the aforementioned, make sure you write "divisi" so they know how you want it played (if you wanted that) 3) Your piano part seems more improvised than an actually melody. If that is the case then write the changes so the pianist knows.
  8. Updated a better mix: my first mix SUCKED!!😀
  9. 1) Your VSTs are awesome 2) Your harp part does have some significant problems. Why are those arrows on the top of the barlines like that? That's not where it goes. They should be next to the notes. By default, the gliss goes up so you don't need to do that. It's already understood. Additionally, you have some five note parts in the right-hand which is a major NO-NO!! The most notes the harp can play at one time is eight, not ten. Also, you don't want to stretch hands generally more than an octave. Tenths are a pain especially when you add other notes in it which don't allow the harpist to play chords easier. 3) Melody I see is NOT your problem. They are gorgeous and so catchy. That is a gift. Add some counterpoint to strengthen your melodies. Maybe a clarinet during that harp solo? Countermelodies (CM) are missing in this overture. You actually won't need to write something new because you have enough melodic material to borrow from. Example: Even in this theme, he develops density although there's not a strong CM in the first introduction of theme. but notice how he changes the color with the flute. The CM is faint but the movement in the strings and harp are clear. At 2:29, the horns have the CM. It's VERY present. Then at 3:02, it's VERY present as he builds density by adding the trombones. This is why it works. The themes are clearly developed. Even in an overture, the themes are developed; it's not a snapshot.
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