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SergeOfArniVillage last won the day on September 14 2019

SergeOfArniVillage had the most liked content!

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About SergeOfArniVillage

  • Rank
    Inter-dimensional Puppet
  • Birthday 05/06/1991

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  • Biography
    I'm an inter-dimensional puppet. What else is there to tell?
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  • Interests
  • Favorite Composers
    Beethoven & Franz Liszt ... and Mitsuda-san
  • Instruments Played

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  1. Oh, ok, I see. Neat to learn a new term though: WT0. I learn something new here all the time! ☺️
  2. Here are the next two pieces in my opus. The 3rd one is a little strange. It's a piece about empty bluster: loud, yet somehow hollow and unconvincing. Not that I want it to be unmusical, but the intention is to give off false confidence. The 4th piece is inspired by the thought of an underwater ruins being explored by a mermaid (oddly specific, I know). Not exactly an original thought, an "underwater ruins", but the idea is so hypnotic I couldn't help but include it in the series. https://app.box.com/s/i79bm98uk2yll55i9lltjutzwjor9pt4 (Op. 4 No. 3 WAV File) https://app.box.com/s/qal2yxlalkcqgduqicuh4uinwhqegx6z (Op. 4 No. 3 PDF) https://app.box.com/s/kobb0wu7rwz0wj440z19vmue35ei3if1 (Op. 4 No. 4 WAV File) https://app.box.com/s/ocasb25vv0d9w5m3dcuyxjw3n3970kuj (Op. 4 No. 4 PDF) Note: Op. 4 No. 4, the key signature should be F Minor (I forgot to add the key signature), and the opening note shouldn't have a D# and E natural, but rather, an Eb and an Fb. I just haven't gotten around to fixing the score yet, but I will later.
  3. Thank you both for dropping by! @Monarcheon I've never heard the term nebulous WT0 before. What is that?
  4. There are things I really like about this piece, and things I think are really awkward about this piece. On the one hand, I really like some of your choices of chords, like the G Major at measure 10, and the attention-grabbing C Major chords at mss. 19-23. They may be simple ideas, but they're well executed, which is all that really matters. However, the way you voice the chords are sometimes kind of painful to look at, as a pianist. Perhaps you have big hands, but there are an awful lot of 10ths that are expected to be played with the left hand. Granted, you could roll the chords, but I think rolling the chords would make the piece lose some of its "gravitas". The worst offender is ms. 71. If you have big hands, it could work, but rolling the chords will just sound bad. But more importantly, the section starting at ms. 37 just doesn't work for the piece. I see where you're coming from, conceptually: have a ms. of intense 16th-notes, followed by a little peace. Repeat. But it works more in theory than in practice. The starting of momentum, only to immediately fizzle out, sounds unintentionally weak. (I think a development more like the B section of Chopin's F Major Nocturne would sound more fitting: a continuous stream of chords in the right hand, with fitting scales in the left.) Then comes measures 46-49, which actually sound really cool, in a rhythmically catchy semi-pop way, but also sound like they belong in a different piece entirely. But on a side note, mss. 61-64 sound pretty awesome. Overall, I think you did a good job. I think you have great ideas! I just think the execution needs to come across as more natural. Thanks for sharing with us! 🙂
  5. Maybe it's just me, but you seem to use 7/4 time in a very natural, lyrical way. Usually this tempo sticks out like a sore thumb for me, but I don't think I would have even noticed if I wasn't looking at the score. Interesting. I like the way that the previous piece hinted at the maestoso here. In the piece before this one, there was this short climax at its grandiose theme, but here, it's like it gets a chance to be further elaborated on in this "remix" of all the previous pieces that came before it. It's a satisfying climax! And the ending C Major chord is also really satisfying and feels truly "final." (I think my favorite part are the 2 bars labelled martellato soon after the quasi cadenza, those chords are positively delicious!) I'm looking for things to critique, but I just don't see anything to criticize, personally. I just really like this suite, and your way of writing. What can I say? I'm sure your growth as a composer will come naturally with more writing, anyway, as all composers do. I hope at some point you can get a live recording of this music, because the only thing holding it back is the MIDI performance. Thanks for sharing with us! :D
  6. I think this is wonderful, particularly in context with the set. The jagged edges of some of the passages is a nice contrast to the more smooth passages in the previous works. But I appreciate the subtlety and restraint. The piece has jagged moments that set it apart, but it still has its own smooth passages that give it a certain contour. I especially like the use of the unisons, like at mss. 59-69, for example. It contains the same harmonic feel, and even though it still sounds a little "rough", it comes off as more gentle than other parts in the piece. And the animato is just a beautiful passage. Great work! :D
  7. Thanks a bunch for taking time to listen, Em, I appreciate it 🙂 I agree with you on the difficulty spikes in the suite, some are definitely around intermediate. I figured it’s a necessary evil, because I didn’t want the whole suite to be only extremely slow, quiet pieces. Although the abundance of accidentals in Adagio might be just a tad sadistic on my part for people who are learning to read sheet music 🤭 oh well. Mwa ha ha! Again, thanks for listening!
  8. I think your harmonic language here is lovely. You have great ideas! As for repetitiveness: you do include a repeat, but only for a 12-bar theme, so that’s not particularly egregious or anything. I would at least vary the theme from ms. 33 on, when you return to your original theme, if I were you. Whether you want to do this in a simple or complex way is up to you. There are potential benefits and downsides to either choice. I think this is a lovely little piece. Thanks for posting! ☺️
  9. I think it just sounds awesome. The use of the whole tone scale is tasteful, and I appreciate that it didn’t become overused in the piece. It comes across as mysterious, but in a way that carries purpose. The con moto section is beautiful, but strangely enough, my favorite part of the piece, for some reason, are mss. 138-140. I think it’s because of the return to the whole tone scale, but coupled with those spicy sforzandos. There’s something just a little surreal about it. A nitpick: the momentum from ms. 126 to 127 stops just a little too abruptly. Perhaps putting the riten. on ms. 125 or 126 would help it become a little smoother? Really great job with this, looking forward to the next piece in the set 😌
  10. I think it sounds pretty cool, and it’s fun to listen to. I think the only potentially unreasonable measure is ms. 8, on the 11th beat — that’s a really wide interval, and having to jump to whatever note would sound kind of awkward in this context. Great job!
  11. Recently finished the second in the set of "Ruins" pieces I'm currently working on. This piece is meant to highlight a feeling of regret. https://app.box.com/s/2nvypwqs6qku1sbftxg6reglwar5xlxi (Op. 4 No. 2 WAV File) https://app.box.com/s/lmkmy7vkumtwfgbixm0wi40cphmiv3nx (PDF Score)
  12. I think “Poor Form” sounds like an awesome idea.
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