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Ravels Radical Rivalry

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Ravels Radical Rivalry last won the day on March 14

Ravels Radical Rivalry had the most liked content!

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34 Excellent


About Ravels Radical Rivalry

  • Rank
    Samuel Barber's Groupie
  • Birthday 09/15/1987

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  • Biography
    I was born and raised in Kansas around the Kansas City area. I was publicly schooled until my Sophomore year in high school. I was homeschooled Sophomore-Senior year. I have attended an ACF accredited culinary school. I play the piano as my main instrument. I can sing, but don't perform. I accompany musical productions as apart of the orchestra pit. I also bake cakes whenever someone asks. My biggest accomplishment to date is my sisters wedding cake (ask me for pictures). My favorite two things to do are to attend symphony concerts and to eat out as kick ass restaurants.
  • Gender
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  • Interests
    Cooking, baking, composing, piano, video games, golf, beautiful moving music
  • Favorite Composers
    Edward Grieg, Claude Debussy, Maurice Ravel, Samuel Barber, Camille-Saint Saens, Alexander Scriabin, Sergei Prokofiev, John Adams, Adam Schoenberg, Christopher Theofanidis, Aaron Copland, Sergei Rachmaninoff, Jennifer Higdon
  • Notation Software/Sequencers
  • Instruments Played
    Piano, Voice

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  1. I REALLY like this. Never had a clue about the movie or the scores or anything. Love the open airiness and the old classic sophisticated feel this sound has. It is gorgeous. I do hear the seed of how this is John Williams. However, it is a stretch out somewhere else with Williams to write this way (don't mean it is hard for him rather that it is just a little different and not typical). It is even more beautiful then a lot of his other more commonly known stuff. Very interesting. Thanks for the share.
  2. Zimmer: Gladiator - ''Now We Are Free''

    This score is a classic. Probably my favorite part is the stuff in the last portion of the track called "Barbarian Horde". Hans Zimmer is a master at this. He seriously knows how to create music that moves a visual along and milks out every emotion that is represented, but in doing so he also writes some really legit music that holds its own in a concert setting. His idea for Inception was brilliant. His recent score to Dunkirk is not as well suited for concert as it isn't really music in the sense of melody and development, but man it sure is effective. It is one of the most intensely incredible uses of scoring music I have heard. REALLY glues all the insanity of the switching back and forth of the three different aspects of that storyline together in a way really never done before. Of course, Driving Miss Daisy, Lion King, DaVinci Code, Batman/Dark Knight trilogy, Crimson Tide, Thin Red Line, Black Hawk Down, Interstellar, and you kind of have to also include Pirates, etc. are all classics. Gladiator is close up there to the top.
  3. Obviously not all the instruments heard are actually represented in the video visually. I am assuming this is a mix of live recording and electronic orchestral library patches and such fed through software notation program? I love it. Love the piano part. You aren't finding legit piano writing for this type of incidental music too often. Great job. My sister was huge into this game and she would love this as well.
  4. Competition Poll

    I put down that i didn't feel qualified. I don't. You all are leagues ahead of me. If, however, I did feel qualified, I would also probably feel that i didn't have enough time to get done what I want to in the allotted timespan. I write slowly. I work constantly. I would only slap something together if I actually had entered.
  5. Very interesting story. I like the story. I particularly like learning about the lesser knowns. I recognize the brilliance and mastery of the greats like Handel and Bach. However, there is so much more that was and is going on. There are little moments and pieces everywhere that don't get the recognition they should have had or deserve. I also like learning about the different, lesser known format of this piece. As for this piece, it sounds of the era. I don't know that I hear anything that is unique to this composer. It is nice, but ultimately like a less inventive and polished piece of music then what the great composers would have produced. However, something that is interesting to me is that I hear the seed of Beethoven's 9th in the choral writing. Now, what immediately plays after this piece on Soundcloud is part of Bach's St. John Passion and that is some brilliant writing! Thanks for sharing!
  6. Judd Greenstein - Change

    Awesome! So far I have had the opportunity to listen to City Boy in addition to the original post of Change. I love it. I have always liked rhythmically challenging and interesting music. I like it when meter changes create jaggedness in the rhythm. I love it even more when the melody reflects those meter changes. I love it when measures and beats overstretch themselves and steal from others. I love it when you have a certain boundary for a period of time (whether it be a single measure or a set of measures that equal a phrase) and you can stretch those notes beyond their conventional sound and beyond the conventional beat and still not spill over outside of your boundaries. I love the triplet/duple back and fourth or even laid over and against one another. I just love anything with interesting rhythmic stuff. One of my all time favorite examples of this stretching and freeing of rhythm within a set boundary is towards the end of Rhapsody and Blue. The melody gets super broad and lush in the strings and the accompaniment first in the brass and then with the piano becomes jagged by being stretched and shortened as much as can be allowed within the framework of the melody. Love it! So, I definitely love what this guy has going on. I am really into the meditative quality of the City Boy piece too. And also, his use of the guitar is very serene and not jarring. It blends very lovely with the rest of the piece.
  7. Judd Greenstein - Change

    Thank You for posting! This is exactly the type of piece I would like to be discovering in this forum. I definitely like the sound he has going. The instrumentation and orchestration are great. Very different. It is very jazzy. The texture is very full and satisfying. My initial thought was that I was wanting more to happen with the initial pattern and I was wanting it to move on faster. I do like what happened to it around 3 minutes. Overall, I am into this piece big time. I have never heard of this composer which is exactly why I had this section of the forum started. If it turns out that in fact he has a ton of variety and other compositions to offer I may have found a new guy. Discovering new fantastic composition and composers and hearing amazing things and being lead to research and discover is the whole point! Do you suggest anything else my this composer or is this sort of his only one interesting piece?
  8. How do I get my music out there?

    I think I see now how you have such a high reputation score. Your sense of humor is interesting and fun.
  9. GOALS FOR 2017

    My turn: 1) Get a life 2) Find that life's purpose Well, actually, more realistically 1) Pay off all credit card debt 2) Raise Credit 3) Save money to go back to school for a. degree in pastry b. at least the beginning classes of a composition degree (we will take the entry level classes and see how it goes - I might decide to go all the way with it) 4) Find a career related job in the culinary realm, preferably working as a pastry cook in a restaurant/hotel or at a bakery or a catering location. 5) Then more hobby related goals then the other - Lower bodyfat/Increase strength/Raise new max lifting weights/Participate in an official 5K 6) Learn this damned musical and perform it successfully in the next week (this will be my immediate goal as my first performance date is next Thursday and I have only spent a full day looking at it - not hard, just limited time)
  10. What's your dream piece to conduct?

    Throw my newly found favorite Intrada 1631 by Stephen Montague on things I would love to conduct.
  11. Labyrinth 2 (for una corda)

    Your labyrinth series of pieces is brilliant. This is one of the most unique and creative pieces I have heard on this site in a while. As fishyfry pointed out, I love the contrast that the 2nd movement gives to the first. The atmosphere and the color of the second one is very charming and soothing in a strange way. I really like the way you have utilized the prepared piano. You have used it to produce new sounds other then the regular hitting of the key, but it isn't what you usually get out of prepared piano pieces. It still takes a very musical and melodic approach. You have managed to use the new colors you get out of each new string sound to fit a purpose in the overall tone to the piece. It is as if Bach had written his Goldberg Variations for prepared piano - that is what you are accomplishing. I think you should keep going and write many more movements of this.
  12. Labyrinth for prepared piano

    I have always heard prepared piano and thought it sounded like primitive arrangement of percussion. Sounds like tribal ritual music. I do understand the deal with it being a thing more about rhythm then pitch probably for that reason. It sorts of takes the tone out of the strings and lends itself to creating more beat/pattern oriented stuff like the Japanese Kodo drumming. As silly as I think the idea of sticking things in a piano is, I hate to admit that I like the piece and I also like John Cage's 5th sonata which sounds daily similar to your piece.
  13. Intrada 1631 - Stephen Montague

    I am glad that you are listening. I was beginning to think people were not paying attention. It was my hope that people would post stuff that was new that just got them so jazzed that they had to tell someone who had probably not heard it and that it would encourage other people to share stuff they had just found and then a discussion would come about. The Montague piece is incredible. It was a live performance highlight of my life.
  14. So, over the weekend I was introduced to a new piece of music in a big way. I was barely familiar with the name Stephen Montague. I certainly couldn't tell you any of his piece though. So, I am a regular follower of Adam Schoenberg. He is one of my favorite guys on the planet. I had seen on his performance schedule that he would be in town to premiere his 2nd Symphony at the CBDNA national conference. So, I needed to figure out how to go about getting in to see that. The tickets to the individual concerts were not being sold to the public. So, I found out how to register online for the last day of the conference. I paid for a single day and had my name submitted. Early the day of the premiere I went downtown to the Marriott were the attendees were staying (all the college band directors). I got my badge which allowed me into everything I wanted for the day. First thing I did was sit in on a composers forum featuring Jennifer Jolley, Stephen Montague, Michael Daugherty, Carter Pann, John Puckett, John Corigliano and Adam Schoenberg. Then I went to a minor (in comparison to the final) concert featuring the CBDNA audition wind ensemble. They played Michael Daugherty's Lost Vegas (awesome) and Pictures at an Exhibition. Then by 7:30 we hit the main event. It is the University of Texas at Austin wind ensemble under the direction of Jerry Junkin. I am now a HUGE fan of this ensemble and this director. The musical interpretation and quality of performance along with their professionalism and care for their craft blew me away. Jerry is so enthusiastic and such an inspiration to the kids and anyone who hears his band play. So, the program for that evening was Intrada 1631 by Stephen Montague, John Corigliano's Clarinet Concerto, a world premiere by Jennifer Jolley and the premiere of Adam Schoenberg's 2nd Symphony entitled Migration. Corigliano has a reputation. Schoenberg's piece was insanely incredible. However, the one that blew me away the most really was Montague's Intrada. It was the lead off of the program. If you have never seen the inside of our concert hall then I shall provide an image for reference. helzberg-hall-gkd-ericbowers-kauffmancenter-1.jpg Quite literally one of the most gorgeous and exciting places on earth. Well, that is one reason to post a picture. The other is to provide a visual to explain how the piece was performed. Intrada 1631 is written by Stephen Montague and was premiered in 2003. The piece starts out with this very tribal, native sounding drum beat from a big bass drum which they had dead center and top of the stage. Then, the brass comes in plays the melody of a very chant like hymn in a single horn. There are also two other members of the band at the tops of each staircase to the left and the right of the choral loft/organ. They have drums strapped around them. Another large bass drum is placed at the far right of the stage. The piece grows and grows very much like Ravel's Bolero. The bass drums provide that constant beat and the brass builds and builds while the harmony begins to blossom. Then the winds and reeds come in and finally the organ is added in for the final two iterations of the hymn. Now, you can see in this picture the 2nd and 3rd tier balcony to the left and the right of the stage . The ensemble placed 4 members in each section of the balcony resulting in 16 antiphonal musicians in total. In the final portion of the piece they played their brass antiphonally and as the rather long final blast of sound ramps up to a conclusion they switched to an alternating mix of violin and triangle for a very glittery and sparkly surround sound atmosphere (there is a technical name for the technique used, but beats me what it is). This piece is close to modern Pines of Rome awesome. This performance was one I will remember until I die. I highly suggest you listen and get in on this music if you are not familiar with it. It was one of the most incredible concert experiences of my life. Sometime next year the university will release a recording of all 4 pieces that were featured on this program as they have already recorded under the Reference Recording label. It will be a definite hot item to grab. This is the only full performance of it I could find online: https://soundcloud.com/leo-guan-2/01-montague-intrada-1631
  15. What Masterclass topics do you want to see?

    I'd like beginner stuff. I am sure I am not the only one that is on this site that really doesn't intend on a career in composing and never plans on going to school and getting a degree. I have never had any composition classes actually. My knowledge of music is in playing for piano, singing and enjoying all sorts of performance from rock (Eagles, Fleetwood Mac, Muse, Coldplay) to classical recital (voice, piano, violin, etc.) to orchestral classical concert (Poem of Ecstasy, Pines of Rome, Daphnis et Chloe) to electronic music (deadmau5, Zedd) to film scores (Lord of the Rings, The Untouchables, The Mission, etc.) I know my basic theory. I know my key and time signatures, my scales, my intervals, and chords and inversions, blah blah blah up until modes. I understand modes, but don't have them memorized. I know piano well. I sight read pretty well too. I play pieces like Debussy's Estampes or Suite Bergamasque, some of Scriabin's Waltzes or Preludes or Nocturnes, some Rachmaninoff Preludes, some Mendelssohn, Barber's Excursions or Souvenirs, etc. I know how the voice works pretty well though I don't sing as much as I play piano. Anyways, that is where my experience comes from. It has nothing to do with the construction of notes and phrases, accompaniment or orchestration, melodies and development thereof. So, my interest in learning and practicing (and especially receiving constructive criticism) is just coming up with an idea, notating it and getting some other parts to accompany the melody or motif and trying to develop some whatever-it-is well enough. I love basic structure advice and criticism. I don't need so much detailed help with how an instrument works or whatever (though I do - just not yet). I would just like help with the overall progress of my ideas and the structure of my piece and how to make it more interesting and less blocky.