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Ken320

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Everything posted by Ken320

  1. This is the first time I've heard this music, which I would describe as happily urgent, or urgently happy. It has a great sense of motion with what I would call the "telegraph" motif, used with skill and imagination in the various orchestral combinations. The brass parts were pure joy, reminding me a little of Petroushka if you don't mind me saying. And the tuba, well what can you say about a solo tuba part? It added a little humor here and there. It's a difficult - or should I say ballsy - thing to mix different styles in the same piece as you did here. But I think you pulled it off and made something unique. Bravo!
  2. That's because it's so slow. It's in the rhythm of the piano part.
  3. The first movement started out nicely until the chromatic note runs, which overall, seemed almost comical because of their distance of character from the nice chord progression you set up. You were going for contrasts here I see. Sometimes they work and sometimes not. I like the solemness of the 2nd movement and the vitality of the 3rd. But again, the infusion of chromaticism struck me as weirdly comical, maybe because of its juxtaposition. But overall an enjoyable piece.
  4. Thank you! No I used East West Hollywood Strings. I would like to try Noteperformer though. It sounds very good and it would eliminate a lot of the extra work I have to do.
  5. Thank you for comments, @maestrowick. I don't mind instructions, especially when they are correct and I'm being sloppy and in a rush. It won't happen again! I made the corrections. Which parts were muddy?
  6. I agree with you about the tuba, spot on. I don't know if this is helpful but damn it's good. Trumpets trombones sax AND horns. Enjoy!
  7. I think you may have misunderstood me. I don't suggest doubling anything, but rather utilizing the qualities of register to address being drowned out or not. Horns are a great "glue" in orchestration, but I'm just saying that doubling should not be your go to solution right off the bat.
  8. You might start using them for punctuation or by sectionalizing them in ways that are not tutti. And you don't have to bring in the whole fleet, from top to bottom. In modern music you have a lot of leeway. Something else to consider is how will you write for strings and winds along with the brass? If you think strings and winds will get buried write in their extreme registers. They will be heard. I remember in college we did this Offenbach opera buffo or some such. And the director kept telling the trumpet player to play softer during this one part. And he tried and they played it again. And the director said, quieter please. And he tried. But it wasn't quiet enough. And it went back and forth like this for a while. I can't play it any softer. Please try! But it wasn't happening and he finally stormed out of the rehearsal in frustration. I wonder if Offenbach might have wrote that part for a cornet instead...
  9. If you are interested in putting this into music notation, PM me. I can offer some advice.
  10. It's got promise. I hope you keep going with it.
  11. A Northumberland folk song sung by the Unthanks. Note the odd piano ostinato. blood from hearts that know no beat
  12. What? I did not mean to offend you. Just having a discussion about music is all.
  13. I don't know the composers you mentioned, I had to look them up. But I listened to some samples of Persichetti who wrote for band instruments and I was amused as if it were a joke, the connection. Not saying your response was insincere. Just puzzling.
  14. Thank you for your comments, @Quinn. I would hope that there are originalities here among the familiar - the derivative even. But I don't know Walter Piston's music and I'm not sure who the other composers you refer to are. I suppose that covering that forty year span you've got the musical theater guys like Jerome Kern, Richard Rogers and Kurt Weill. Sondheim too. The American musical Songbook?
  15. The most consonant piece I've done in a while, it's also somewhat sentimental. A Hollywood sound backdrop. Some of the string writing may be similar to the stylist George Shearing, though not so much in the jazz idiom, and with more open voicings. Part of the Hither And Yon series.. Please enjoy and offer your comments! HITHER AND YON Pearls Of Perception https://www.youngcomposers.com/t38915/pearls-of-perception/ Rain Dance https://www.youngcomposers.com/t38695/rain-dance/ Halliday Street https://www.youngcomposers.com/t39165/halliday-street/ https://www.youtube.com/watch?v=g2_eh54c2wg
  16. I'll start with eclectic. I'm the chef who wants to try every dish on the planet, and some that aren't. Life is short and I'm not an intellectual when you get right down to it. I go by instinct and my own sense of aesthetics. I am very confident in this. I believe that whatever the musical expression - this is wide open - it should aspire to be beautiful. We don't have to define beauty here, do we? I don't like the vulgar, the cheap or the political. There is a deceptive aspect to the undercurrents of modernism and what have you. You could almost say that there is a certain politics to it. It might be helpful to say that I was raised on Pop music, so I tend to write shorter pieces. I admire those that think in the classical symphonic forms, that are at home with writing long pieces, or a modern long piece as well. But I am making progress to address this. And I'm at the point now with tonality that I think I can make compelling tonal works. Also, lately I've been focusing on melody and emotion. And this necessarily means a familiar harmonic language. But should I want to convey an emotion that can't be achieved this way I will adopt a different method without hesitation, or just plain do it, as I have many modernist piece here already. I approach the act of composing by recognizing things I'm playing in my head subconsciously. I attach a mood to it. Somber, slow, happy, fast, something with a pulse or in your face. Whatever. Broad strokes. Anything to get past the blank empty page phase. Then I try things out on piano. I have to hear it on piano and not just in my head. I guess I'm deficient that way. I would say that some of most enjoyable moments in composing come when I finally know how something will end. Everything is so much easier then.
  17. I don't think Democracy in music (serialism) is a good thing. I'm not so sure that Democracy in general is not without serious flaws. But that's another subject. Simple repetition is sometimes all you need to make the wrong sound right in music. That in itself and with a little artistry makes it not atonal, . Analysts and historians of Sravinsky refer to his "tonal centers" as key to his modernism. Not a mode, as in your Satie, and perhaps not a full fledged methodology but only a mannerism or technique. Repetition is key though. In the last analysis doesn't it come down to the artist's sense of aesthetics? @jawoodruff is right. Dissonance is a funny beast.
  18. "Estate," played by the late Shirley Horn and arranged by Johnny Mandel, is one of the most sensual Italian songs ever written. There is so much here to enjoy. Pay particular attention to the strings, they are out of this world. Estate means summer.
  19. Spitfire Audio has two different solo string libraries. One recorded in Air Studios in London and one I don't know where, but they are both good.
  20. They can run but they can't hide. I think you got them all. Creepy little b-----
  21. Haha! One of my professors did a recital playing a piece by Berio during which he blasted out a fff up at the sky with his trombone, then took off his top hat to catch the note as it came back down.
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