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Monarcheon

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Everything posted by Monarcheon

  1. I can't honestly speak to the accuracy of the style imitation, but the only thing I find odd was mixing the Mixolydian and Major modes in the F major section at the end. But as far as I can tell, it's pretty good and stays consistent throughout.
  2. Are those tempo jump places actually in those tempos? Or is it rubato. Those two places are very very difficult for violinists to play accurately, especially with the infrequent jumps. Also might want to add slurs to your main rhythm, since some people will instinctively make one more bow than the other. Idea-wise, it's really cool! Sorry it couldn't make the time limit.
  3. In "In Dreams" whenever you had quarter notes in the bass and a "rest, eighth, eighth" pattern in the soprano it seemed to ruin the image of polyrhythm for me, just because it was pretty much evenly subdivided at that point. It All Comes Back, m. 7, the D natural in the soprano clashes with the D flat resolution in the bass. Also, something in that F major section seemed a bit off, maybe the type where you end a measure with an eighth note after quarter notes? In "If" starting from m. 9 to a few systems down, the tonality of the piece got really wacky with the rhythmic integration. Maybe that's what you wanted, but it's a big jump from the previous section. Also, especially in pieces like this, it helps the performer when you beam the rhythms in the notes exactly how you want them to be played so they have separate rhythms to fall back on just in case. These are cool! Weirdly polytonal and polyrhythmic
  4. I personally never liked the Brahms 4th symphony. When I played it in Symphony it seemed kind of bland compared to his second symphony. But the 6th symphony by Tchaikovsky I totally agree with, pretty much the whole piece (emphasis on 3rd and 4th movement), but my list had too many things to put on it :( I wish I had like 100 spots!
  5. I'm so glad this this is a post. I love a lot of pieces in their entirety but specific parts are really the great things to discuss sometimes! These are in no particular order except for my number 1 choice! 10. Shostakovich Piano Trio #2 in E minor, 4th movement 9. Lutoslawski, Cello Concerto, end of Cantalina and Finale (reh. 77) 8. Mussorgsky, Pictures at an Exhibition, 10th movement (The Great Gate of Kiev) 7. Britten, Young Person's Guide to the Orchestra, Fugue 6. Barber, Violin Concerto, 2nd movement 5. Prokofiev, Violin Concerto #1 in D major, 1st movement 4. Haydn, Symphony 97, 1st movement 3. Shostakovich, Piano Concerto #2 in F major, 1st movement 2. Dvorak, Symphony 8, 1st movement 1. Respighi, The Pines of Rome, 4th movement (The Pines of the Appian Way)
  6. What about the other big Korsakov pieces? Symphony 2, Capriccio, Coq d'Or, etc.?
  7. I've always felt that if I could just master orchestration I would be so much better at composition. Ravel, Prokofiev, Strauss, and Respighi are great at that; I've spent countless hours staring at Daphnis and Chloe/Death and Transfiguration's scores and just feeling utterly inferior.
  8. With all due respect, the original intention of this topic was specifically the technical aspect of putting into Finale, Luis.
  9. Hi all, I get if people don't respond to this or know how to respond or whatever, but the internet wasn't really much help. How do you get Finale 2014 to put an irrational meter (i.e. 4/3) with proper playback. Thanks!
  10. It sounds fine for the most part, it's just engraving issues... more specifically beaming issues. One beat (or 3 eighth notes in this case) should be beamed across, even with rests in it. I don't know if it's a limitation of your program, but there you go. I don't know if you subscribe to this, but I was taught that in 6/8, your rests should always be in terms of the eighth note. So instead of a quarter rest, you should have 2 eighth rests, but that could just be me. In 15, you should probably have those 2 16th rests in the soprano be one 8th rest. On a side note, you're going to want to work out bowings for this, especially for the soprano/violin at the beginning. Cheers.
  11. 5. Dominant chord in the high voices, but tonic in the lower voices. 6. Voices create an Augmented 7th chord with added major bass. 15. Unresolved 4th in the soprano voice. 29-30. Crossed voices obscures the melody. 38. Added fourth is weird, not necessarily wrong. 43-44. 2nd violin part is unnecessarily difficult and adds unnecessary tones into the music. Not a tone problem but in 58, the transition to cello pizz is near impossible. Also not a tone problem but in 63, arco should be directly over the notes that should be played as such. 63, 64. Alto voice resolves to tonic prematurely. 67. First also note should be an A#. 80. Passing tone in tenor does not match the anticipation in alto. 97. This chord doesn't make much sense to me. Almost forms an Italian 6th on top, but a dominant on the bottom... The issue with engraving is relatively simple... just space things out. The more important thing however, if you're submitting this to college, is that you need to figure out how the players will bow this piece. A lot of the time the bowings end up backwards for the players, and while yes, they can figure it out themselves, it's a composer's job to make it as painless as possible while still making it musical. I don't want to sound harsh at all, but since I also didn't get into college with my pieces at some schools, I'm just looking out for you, friend.
  12. I think it would be okay, but it's a little bit too harsh for like romantic scene or whatever. This isn't really a problem, but I would be cautious of over-using suspensions and retardations. The choir at my school has this version of the Star Spangled Banner and every measure is just jam-packed with suspensions and it ruined some of the natural beauty of them. That's just my opinion though, some people love that stuff.
  13. Okay, so the main thing here is that the non-harmonic tones clash with each other, obscuring the tonality of the piece and making the melody of the piece seem less important. I think in an effort to give the instruments something to do, the tonal idea behind the piece became unclear...
  14. This was pretty fun! The half steps in your chord in the left hand at 9 and 13 is a little off putting to me for some reason, and the engraving at 29 and 56 confused me a little bit, but I really liked this, even for not liking traditional atonal music that much!
  15. I really do quite like this. The only thing I would have altered is the arpeggiated Ab major part... the long cello notes makes the piece feel like it slowed down, like it's not as active as the part before; I just feel like it's somewhat unnecessary, for example that really long Ab after the repeat sign. Not to knock it though, it was really good regardless.
  16. I sincerely appreciate the time you put into this review. It's so nice to see, truly! I'm assuming by "the rest" you mean the B' and D sections? I'll try to address them below. Hm... that leading tone G#. I seem to have a bit of a habit for coming out of more atonal sections with too much tonality, huh? My subconscious, not really helpful, argument would be that it's done to draw a parallel to the ending G major section in which the leading tone is also used after the quintuplet, however I do see what you mean that the shift is unnecessarily jarring. The m. 74 B natural was put in the left hand to distinguish it from the right hand's ostinato, as it carries on from the E -> D from the measure prior. I was taught that the best way to get an audience reaction is to introduce contrasts, and I see this a lot too; in Schelomo, the second main theme is brilliantly rewritten in a completely tonal light in the Largo section, and in Elgar's cello concerto, the first movement takes a massive shift into a jauntier feeling which is done quite well. Perhaps I just took it too far! I don't want to sound like I'm necessarily defending myself, because I do really find this helpful. I just think it's nice to know the original intentions despite what you may not find particularly quality in certain aspects.
  17. This piece was written as a commission for a pianist in a school I used to go to. It was written pretty quickly and is based on the Hans Christian Anderson version of the story, not the Disney version. It gets weird in some places but I hope you all enjoy! (And sorry it's kind of long, haha)
  18. Have you tried listening to them with scores? I think you'll find it a lot more fascinating, and they MAY lead to a slight liking to them, but not necessarily. Are we grouping atonality and aleatoric music together? If not, atonality shows up in a lot of cool places because, if done correctly, no tonal center is present, therefore the modulations in those pieces are always super cool. https://www.youtube.com/watch?v=JFIGoB7rK70&index=4&list=LLzCprbu2shhd8_JMyDEBIMQ This is Rautavaara's first piano concerto. It's definitely atonal, but that doesn't mean it has to sound ugly. Last piece of advice, try to imagine the emotion behind some atonal/aleatoric works rather than directly how they sound. Lutoslawki's cello concerto has a lot of political angst and it's very evident. Bloch's Schelomo (not always atonal) has melody lines that are so beautiful despite the orchestration around it. So to answer your question, no, but you may be listening to the wrong things.
  19. Underrated: 1. Respighi, Ottorino 2. Lutoslawski, Witold 3. Barber, Samuel 4. Wertheim, Rosy 5. Puccini, Giacomo Overrated: 1. Mozart, W.A. 2. Chopin, Frederic 3. Liszt, Franz 4. Williams, John 5. Bach, J. S. (only kind of mostly because of the cello suites) You can appreciate a composer's contribution to the art while still not liking their music directly. For example, Chopin's stylistic choices and use of chromatics are techniques still used to this day, but I personally don't care much for his work. All in all that raises the question of what the important part of being composer is and (not or) what our personal preferences are. The problem is this topic seems to have us lightly patting the topic and not tackling it directly. I love works from Crumb, Penderecki, and Lutoslawski for how aleatoric they are, and think the styles they implement into their work are done exceedingly well, but another person may not. Opinions, opinions, all day long...
  20. So firstly, my apologies, I'm not trying to berate you or anything, but I couldn't get a sense of direction from the piece. For example, the D minor section, it too frequently changes texture from polyphonic to homophonic and the dynamics seem like spikes to me. 2nd example, the very ending with the two mixing melodies I think could have had a lot more emotion with the 5th and a lower tonic to drive the minor-ness of the piece home. Maybe it's the audio quality or something, but it sounded like a bunch of ideas, with not much growing or expanded upon. Perhaps it will be better with a score.
  21. Maybe the vii˚7 chord could work. If the note really isn't anywhere in the dominant chord, the vii˚7, the IV, or like Luis said, a passing or even a secondary dominant to foster it would help.
  22. Cool piece, really. This has nothing to do with your music but there's a lot of engraving problems and it just makes it look cluttered (i.e. slurs mixing with dynamics), but maybe that's just an export problem. The use of the E double-flat instead of a D natural is interesting... I would use the D natural as it's intended to lead back into the tonic, right? M. 86 seemed awkward to me, only because it turns the previous phrase into 5 bars, which threw me off but isn't wrong by any stretch. Good work!
  23. I'm glad you felt that way, that's what I was going for!
  24. So you might want to look into the aleatoric systems... namely in this case, using seconds (i.e. 32") to mark your time instead of the whole notes and multimeasure rests you have now. It just makes it look a lot cleaner. Is m. 273 like that as well (the stagger bowing)? If so then simply use words to note that type of change. If it's supposed to be in time, you might want to use some repeats (same with the section at 65 perhaps). At measure 33-34 and those like it, there's no real reason to have it tied to the next whole note when all of it is done in an ad lib. fashion (unless, of course, it's timed out, in which case, you could just have the "tempo" be slower instead of tying). The beginning note... is it supposed to sound major or just like a harmonic cluster. If it's supposed to actually be in D major, you might want to add the 3rd, but that's just traditional western theory; easily and understandably broken. Honestly, the chords you're using are fine the way I hear them in my head but I think it comes down to engraving at this point. You're in no way obligated to think I'm correct. If you want to see what I mean by a seconds system, I attached a part of a piece I wrote called "A Forest" (©2014) which does similar type things. Cheers! Edit: Whoops sorry it's sideways!
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