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SonatainfSharp

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About SonatainfSharp

  • Rank
    Intermediate Composer
  • Birthday 03/24/1978

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  • Website URL
    https://www.youtube.com/channel/UCDg6X3he3LYYZelcrFH9QHA/videos
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    0

Profile Information

  • Gender
    Male
  • Location
    Minneapolis, MN
  • Occupation
    Music Educator
  • Interests
    Recording music of young composers/hobbyist to present for them on YouTube
  • Favorite Composers
    Justin Rubin, Lera Auerbach, Leo Ornstein
  • My Compositional Styles
    Modern, abrasive classical piano solo; Modern classical chamber
  • Notation Software/Sequencers
    Finale
  • Instruments Played
    Piano, Classical Guitar, Acoustic Guitar, Electric Guitar, Cigar Box Guitar, Violin

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  1. This is clearly a virtual representation of the piece, but why is the piano so out of tune? What software is this? I imagine on a real piano this piece is quite lovely to listen to. You say you shiver when you play it; do you have a recording of yourself playing it on an acoustic instrument?
  2. I'm trying to figure out if the issues with this piece are intentional, ironic, or just an early sample of where the composer is at. I am all for these things, but this piece I don't get whatsoever.
  3. Love it! imagine the bass on a large piano coming through!
  4. Love it! You could probably have written it without barlines, perhaps? Those chords are just fine. I can reach them with my right hand no problem. I love the effect of measure 21, although it doesn't really come out in the realization, but I know what it sounds like in person.
  5. Depends on the composer's intentions, of course, but this piece doesn't seem to want to lend itself to ambiguity. There is a time and place for ambiguity, but this doesn't seem to be it.
  6. Oh, another thing: Pay very close attention to your articulation marking in the score--right now you just have some staccato here and there. Do you want two-note slurs leading up to the staccato notes? Do you want the non-staccato to be slurred? The score has great attention to dynamics and phrasing, probably so that the realization would come out accurately, but certainly revise your articulations in the score, too. There is much ambiguity in that regard, I feel.
  7. I absolutely loved this. I especially like your very specific use of rhythm in the first measure, as if to "get going". I also really like the idea of a compilation of miniatures. I actually thought this piece was too long, believe it or not. You got your point across 3/4ths of the way through or even sooner. Short pieces are the most difficult to write, of course -- getting your idea across without cutting it short, yet staying direct and to the point so that it can be, well, a miniature, but this piece enters "too much of a good thing" territory for me. I would see this better as an ABA with a much shorter B section. But these are just my initial thoughts--feel free to think that I'm crazy and not pay attention to me. :) Keep writing these and let us/me know as you write them. I would love to consider learning them myself and record them for my YouTube channel once you have a few that you feel are revised and complete, if that is okay with you (as long as they don't end up being too difficult). Can you play this particular piece yourself? This style of music is substantially more difficult to play than it looks and sounds, and there are some very cumbersome passages from a performer's point of view (not that that should stop you from writing it, though, but just be aware of it). Don't be afraid to stick with the abrasive tonality.
  8. Those gigantic arpeggios would still be exceptionally difficult for even a virtuoso to play unless they stretch the time a bit -- I am talking about the start of arpeggios like in m.13. Look at arpeggio writing by Chopin--they often follow each note in the chord and inversions. Skipping notes like that is really tough at that tempo, and my hands hurt severely just looking at them. :) I love the piano sounds. I would imagine most people couldn't tell it's a virtual realization unless they were thinking about it or listening closely to the fast parts! I don't have comments on this style of music from a compositional standpoint, though. I've never been a fan of flashy Romantic era music, neither the originals nor resurgence, but that has absolutely nothing to do with your writing (just explaining why I only commented on the technical aspect as a performer).
  9. Recorded and uploaded to my YouTube channel! https://youtu.be/PGmgM6JElcs
  10. Very nice piece. And your playing is quite lovely, as well. I agree with Luis that your notation could be a bit more detailed, but there isn't anything in there that is unusual, so any accomplished pianist would put in those nuances anyway, regardless of being missing from the score.
  11. I am a huge fan of very short miniatures and character pieces, but I agree that there is way too much going on to be only 32 seconds long. Lots going on in this piece to expand it. If you want to continue with very short miniatures, that is an entire compositional skill in itself to take grasp of.
  12. I *LOVE* this so much! Light polytonality, atonality, modal, and jazz-influence all in one! I love the mixed rhythms, and intentional blurred pedaling, too. Makes it slightly unpredictable. Do you have more music like this? (I have been part of the forum for a very long time but returning after a long hiatus, so I don't recognize your posts.) I assume this is a virtual realization as some of the notes are kinda punchy in the recording, and the pulse is so strict. Can I record this for my YouTube channel with a more human realization? I would likely use a much freer timing and not be locked into a rigid tempo as well. I won't be offended if you say no. (I am recording stuff early next week, so it would be posted in a few weeks.) As far as the large spans, just expect a lot of players to roll those chords. I can reach them without any effort, but even I will roll 9ths like that to save my hands sometimes.
  13. Very heavily influenced by Beethoven's Tempest, or just a gigantic coincidence? Not saying it's wrong, just curious. :) (One of my very first compositions was extremely similar to the Rach C# minor Prelude, even though I had never heard of Rachmaninoff and never heard that Prelude at the time!)
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