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Ken320

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Everything posted by Ken320

  1. I'm interested. Why not lay it out right here? What does your web site facilitate? Collaborations between composers and filmakers? If so , how so? What mechanisms for download, sharing, etc. Thanks
  2. I am very glad that you are venturing out into using the orchestra! And so far so good! I have speculated that your compositions would benefit from just this sort of thing, to It bring it up to another level. I do hear Ives in he juxtapositions and a bit of Stravinsky's Symphony In C, which you may or may not know. It doesn't matter, just an observation.
  3. Great work. I hear familiar chords stated with sophistication and subtlety. I like the independent, almost unrelated, rhythm of the lead line. But most of all I like the equanimity of it all.
  4. Depends on the DAW. I use Digital Performer and mostly do them by hand or sometimes by phrase. Based on selections, I have functions for 1/setting a vel. 2/setting a limit, 3/ Plus or minus by percentage, 4/ raising only the lowest. Or I can draw them via a line shape tool. Straight, free, random, whatever.
  5. The phrases are unclear as is the meter. I'm not sure if this is intentional or not. Do you have the score to post here - it would help.
  6. It would. It's mono thematic. I think of Stravinsky's Symphony Of Psalms in contrast where he simply wrote Hallelujah for the choir to sing. But maybe that was more for musical punctuation.
  7. Really nice, Maggie. Your aesthetic choices are solid and there's a good arc to it as well. A good psalm for communion.
  8. You may be approaching this the wrong way. Rather than focusing on incidental things, like register or major/minor, focus on how you yourself feel being lost. Have you ever really been lost? If not, how will you convince the listener? Even better, what pieces that already exist evoke feelings of being lost to you, as you see it? Analyze them and copy them. I am confident that in the end you will have something more true to your emotions and it won't sound like you copied it if you put a little thought into it.
  9. Stormdrum2 has several drum sets, each with a full set of cymbals. Ministry of Rock has many sets but also has individual cymbals of various types.
  10. I would say that the first triad of any mode represents its "tonic," which I put in quotes because they don't always get there with a ii-V-I cadence or a subdominet-dominant cadence. But they are tonal centers nonetheless.
  11. The diatonic steps for the Dorian mode are 1,2,b3,4,5,6,b7 .. You would use those intervals regardless of your starting note.
  12. Actually, now that I think about it, Mark's covered everything and a few I hadn't thought of! Stormdrum has an ADSR, so I might shorten the release, along with EQ to remove annoying resonances, and a low velocity. At a lower tempo I've had good luck with using CC11 surgically to rein in the tails of the timpani, for example, to simulate my hand on the drum.
  13. Maybe I can help. I use both of the EW libraries you speak of. But I need a precise definition of your terms like ghost notes and med snare and low snare in order to help you. I am also a percussionist.
  14. This has a nice melody and a good accompaniment. It's lovely throughout. I would suggest not stopping the rhythm at bars 10 and 42. Just keep it going. Also, you have a nice modulation going at bar 56, but a break in the melody at this point is disconcerting. You might consider holding that D for two more bars until it overlaps with the clarinet's entrance on F. And then continue with a brief harmonization of it. Something like that, just to make things flow better.
  15. Mark, I can always use mixing tips because I just don't have the right critical ear for it. You mention the fadeout, which is interesting, because the piece was originally written for a strict three minute length and the fade was short and a bad fade. So subsequently I added another twenty seconds to it by way of looping the existing ending. If you listen closely you can hear the loop. You may also notice that I stole some of the chords near the end from "Where Were You When I Needed You" by Stevie Wonder. Thank you for your comments!
  16. Not bad. It has a lot of energy. What does it mean?
  17. On the joy of coffee, the composer's best friend. This is for a small jazz band of piano, bass, drums, violin, clarinet, trumpet and trombone. I may have posted this before but I don't remember and I don't see it anywhere, so ... here it is. 😊
  18. This is great and the best thing I've heard in a while. Bravo! Rehearsal time is always a problem, I guess. But you all pulled it off with aplomb. Given the skill level of the orchestra, which isn't too bad, using them as sort of simple punctuators for your solos was not altogether a bad idea. Very astute I would say.
  19. *** Your skipping rhythm at the beginning could be written using staccatos instead of alternating eighth notes and eighth rests for a cleaner score, but I know you said you wanted to clean up the score. It all sounds nice, so just reassigning who is playing what in some places may tighten it up a lot. Thumbs up! That rhythm was originally in 16th notes, and while it was "snappier" it was inconsistent with the rest of the piece. And I thought that people would see them mixed together and wonder what was I thinking, or maybe I am putting too fine a point on it (which I was). So changing over to 12/8,/9/8 and 6/8 eliminated the inconsistencies and simplified things. But as to the beaming, that I like and will keep. It's very clear! And at the tempo they are pretty much staccato. You'll notice in general the score is not overly marked up. I appreciate your suggestions and I'm going to them a lot of thought. But I think I'll move on to the slow movement for now and get a little distance from the struggles of the first one, to which I will return! Thanks!
  20. I think you're right. I should have formalized the interplay more between the two, but that's when I get into trouble. I'm kind of stumbling around in the dark here trying to bridge the past and present, or find the commonality that other composers seem to manage quite easily. Or just do something that will interest people. It's very frustrating. Maybe this is just a working experiment? Thanks for your comments!
  21. Unfortunately their are no other colors to be had, unless you have some suggestions. And then they would have to be realized only in strings otherwise it's not a string piece. Haha! I have never seen a ruby and wished it was an emerald. But I will say that there are real limitations to sampled strings and I would give anything to have this played with period instruments. I played a Handel Concerto note for note with these instruments and viola! It didn't sound that good! But if you want to offer some back seat driving (I do it all the time) I would be happy to hear it.
  22. There is one now, sorry it took a while.
  23. I find Beethoven's music endlessly deep and intellectual. The Wourinen, while fascinating in its own right, would pretty much give me little or no surprises on repeated hearings. Though it would be nice to study the score for the orchestration.
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