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Everything posted by Monarcheon

  1. Hello all! https://ubc.ca1.qualtrics.com/jfe/form/SV_3KLgZgovl55JnLv Above is the link to a survey on expressive timing in EDM. I would be greatly appreciative if you answered it and will promise an in-depth review of a few minutes of your music to those who do so. All information is very useful to us! Thanks very much!
  2. No, and I don't know what that is. Can it handle extended techniques?
  3. Most of it isn't extended technique, so I could probably do a decent job of programming in what I need anyway. It's just a little inconvenient haha.
  4. I mean, yes, I could, but I'm not sure I really want to pay for a smaller event like this.
  5. I have a dilemma... I wrote my piece for solo harp with a bunch of extended techniques that Logic does not supply. What do you think the best course of action is here for presentation?
  6. I might recommend a deadline, so we're not blindsided by an extra person joining in at the last minute... but maybe that's my competition moderation mindset coming back 🙂
  7. I'll bite. Sorry if it takes a bit, though. Let me know when to send things to Jean.
  8. Interesting! I love your ideas here. Are there restrictions on those topics? I ask because some people might end up with more or less to work with. Or is that the idea?
  9. Probably that. The way I read it now is stop the bow but use the same stroke. I also do see that stratification is a theme throughout the piece (to me, culminating in the tritone register split followed by a diatonic cluster at the end of the cadenza). The short term jumps in this process might have been what prevented me from hearing the whole thing as a process to that end, but I'm not entirely sure.
  10. Your bowings need serious revision. mm. 11-14 are insane. I really like the development. The expo and the recap throw me off especially when there's a pattern of the piano outlining a cell repetition and the violin doesn't interact with it's not clear that it should be; that is to say, it sounds stratified. I'm also not totally sure how effective the cadenza is. Because everything is so tonic centered and metrically adherent to itself it sounds empty when I don't think it really needs to be; other double stops without the open strings might be interesting. The ending is also nice. 🙂
  11. (C+ = E+) = ([C E G#] = [E G# C]) = ([C E G#] = [E G# B#]). E+ = V+/vi in C major.
  12. No. Unless you're doing a tritone substitution, a V+ chord has dominant function while augmented 6ths have predominant function. V+ is pretty normal rock + musical theater chord because the sharp 5 voice leads nicely to the major third of the tonic.
  13. Watch out for parallel dissonances (i.e. Nocturnal m. 6 in both right hands), and this applies for any two set of voices. If it's a short-term voice exchange it especially needs to be considered carefully.
  14. Is there a reason the strings start on C instead of a triadic chord tone? There's the potential for the pitch of that to move in homophonic harmony to the rest while keeping the upper notes constant.
  15. For some reason I couldn't get into the flow of these, especially the first one. The tonality shifts like Rach does, yes, but in combination with the constant change of momentum it felt like getting nauseous on a rocking boat. Coupled with its sparse writing it ends up sounding, to me, uncomfortable.
  16. Liked this a lot. A couple points where the counterpoint may fall a little bit like 1:41 with the stepwise bass passing tone not meshing particularly well, but on the whole it's nice to listen to.
  17. The don't double the leading tone rule is a recurring thing in this piece. Makes me think it's deliberate, but especially on vii˚ chords and V6/5 it's very noticeable.
  18. Pretty nice. I would maybe reconsider the role of the clarinet and some of the lost momentum that occurs throughout the piece. The clarinet seems very melodic, but not very flowy which is not bad in contrast to the bassoon, but in times like the return of the A it opens up some opportunities to match the nice counterpoint you already have instead of sounding empty. Points where the piece lose energy are nice when it's like the augmented sixth chord before V, but harsher just before the return of A. The potential for this to be a continuous string is high. Also, the beaming on your parts in 6/8 is incredibly strange sometimes.
  19. The voice leading rules aren't the only thing in that book. The chord construction ones are also important and there are a lot of tones that function as accented non chord tones when the main tone they embellish is itself a non chord tone.
  20. Just two measures that stand out to me. Lack of seventh resolution in m. 11 and the D/G chord at the beginning of 17 making the dominant function sound vacuous.
  21. No. 2 bugged me. m. 5 in particular. Beat 2 sounds loose because a lack of a fifth, beat 3 sounds loose because of the lack of a third, and the fourth because it's hard to hear the tonic as continuing without any dynamic markings to make sure it's held over at this slower tempo.
  22. Only considered the first movement: I'm a little confused by the tonal language you're going for. It sounds mostly tonal, then you throw a sus chord over a tonic triad in m. 16 for some reason. Consistency is important and it has a lot of that; there are just moments that confused me. In that same vain, when the traditional voice leading conventions aren't used, like the unresolved leading tone in the beginning, and the doubled third first inversion chords later on (without proper alto/tenor consideration), it sounds a little weird. Definitely not bad, as the piece on the whole was quite good, but just those little moments sounded just the tiniest bit off.
  23. First, chill. By the translation this is likely not their first language. Second, I think he was confused by your thoughts of breathing considering the score shows it's written for two oboes, not one, so they were wondering if that problem of breathing was mitigated. You might think so or not, but that was their question. In other words, no, they likely misunderstood your breathing comment was in direct relation to creating a more realistic sound product as opposed to a score.
  24. Voice leading likely needs to be looked into... lots of times where the dominant and submediant occur simultaneously for equal metrical durations and the tonic arpeggiated voice leading (i.e. violins G A Bb D vs. cellos G D Bb G) sounds strange as there seems to be a disconnect between harmonic functions.
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