sabiansoldier

Agree with the thing about the out of scale neighbour tones. Maybe halving the length of them might make them fit more neatly into the melody. Or just leave it out and give us time to enjoy the bright major chord underneath. How come you start with synth sounds and then transition to orchestra? You could make the intro section work with orchestra too I don't see why you'd change ensembles half way through Those trumpet / brass shakes are wild! (eg. 02:21) Makes me think I'm listening to jazz/bigband. Sort of unorthodox given the genre but I guess it works. Nice composition!

Woah this is amazing! What are your VIs?

Hi guys..A short workout in three-part counterpoint.. have gotten big into Bach and his WTC recently,, wrote a toccata to go with this piece but it's not too good :( ... Hope you enjoy! ;) Fugue in B Minor

Its nice,, as you said a very loose interpretation of an invention,, I'd say your 'theme' needs to be about 4 times longer than it is,, I won't even bother trying to correct you on rules broken (That would be easier with a score anyway).. a nice first attempt though! 2 pieces of advice: learn how to handle dissonance and parallel motion,, and sharpen your leading notes (ie. stick within the particular maj/min key you're in!)

Hey guys Im considering submitting this for my end-of-semester composition, some thoughts on it would be awesome! Still needs a lot of fine tuning. Draws on the music of Babbit/Stockhausen/Bartok... All that funn stuff. Thanks lads! ;) -P Deuce: For Flute and Organ

I liked it a lot! I will proceed to critique from a purely classical (well fine, baroque), Bach invention-head, since that's almost certainly what is expected of you in your composition class.. so nevermind if that was not your intention.. -The mode you used (Aeolian I think) is totally alien to this music, and sharpen your leading note please! -Best to avoid beginning with a leap (esp. that of a perfect 4th.. created ambiguous tonality) -Also best to avoid beginning with semiquavers - After the first statement of the motive, you proceed to augment it straight away, rather than developing a contrasting counter-motive. Also augmentation of the motive is way over-used. Poor idea. -At the point where you augment your theme later on,(b.17) it completely loses all its momentum, you can compensate for slower note values in one voice with the other quite easily. Peters out at the end leaving you kind of cold. Didnt like that. -Random dissonances are all over the shop (Eg b.16 A struck against G) This is ok if there,s a reason why its there (eg. suspension) but these are seemingly inexplicable. -Reduce the reliance on quartal harmony (4ths) They sound bad to a baroque person, especially with nothing underneath. -No cadences at all as far as I can see.. This is upsetting particularly at the very end, Ic-V-I is what we want! -Bar 4, you melodic ideas are confusing, cos you begin your motive transposed up a third, but end it in the same key as the original statement. Odd. -General lack of direction, its kind of unclear where you're going and what you're trying to achieve harmonically. Probably due to all your modality. Also modulation is entirely absent. Take it on a journey rather than letting it stagnate in the same key all the time. Hope that wasn't too harsh, there is a lot of baggage when you go to write stuff like this, its why Bach was the genius he was. Hope that helps somewhat.

Nice work! I love this style of baroque composition, and you handled the beast of a form pretty well, I would have liked to hear exploration of some more keys I think, esp the related minor tonalities, and in general maybe be a little more ballsey, more sharply contrasting rhythms and such.

Thanks for the responses guys! The name actually came to me in a divine flash of inspiration last night.. Its called a declamatory rhythm. Nothing to do with diminuition, I just used different, shortening note values to demonstrate what I meant, and I lol'd at the trill with identity issues :D Thanks fellas! ^.^

This has been annoying me for several days now. The rhythm I've forgotten the name of is a dotted note followed by two notes that are relatively much shorter. For example a dotted crotchet followed by two semiquavers. I've demonstrated what I mean in the attached PDF. Any help please? Thanks a lot guys :) Sibelius.pdf

An interesting sort of piece, I love your guitar tone, agreeing with SOAV, let us have some variation! Or if you dont want to spoil the atmosphere of it maybe add more contrasting movements? Otherwise well done, i like!

Hey guys, this is basically a high energy orchestral piece for some form of intense film/video game. Battle/Chase scene is what i was going for. Let us know what you reckon of it ;-) Orchestral Battle Music

LOL this topic has made my day :D

This is my new favourite thing!

cinematic. very nice work here. makes me want to indulge myself in a melodramatic, passionate, romantic scene where it is inevitable that i leave for at least 40 years, leaving everyone i know (GF included) heartbroken XD. what samples are you using?

Nice, very nice to listen to, felt you kinda ran out of ideas at bar 26 where it changes,"crap,, where do i take it from here?!?" sort of job. There are an awful lot of block chords in the piano, something i dont generally like, try to write for it more interestingly.. a few grace notes, or broken chords, orpolyphony or something, would add a lot to it i think. Cool piece though