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Monarcheon

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Everything posted by Monarcheon

  1. Is that so? Hm, maybe I played an arranged version of this, then. I mean, I'm totally with you in that I like to stick to the original, I guess I just hadn't remembered it correctly. I'll take a look at it with imslp again later.
  2. Generally, I think it's a pretty good rendition. I was a little confused by the ornaments and "interest keepers" you threw in here and there but I got over it over time. Some score-building issues at 68 and 70, but most of them have to do with an askew slur here or there. Pretty nicely done.
  3. Hi there, and welcome! Hope you find what you're looking for here. Specific notes: m. 16 - voice leading of the left hand sounds awkward... the 7th normally resolves to the tonic 3. You did it in measures prior as well. m. 19 - just making sure you know that clarinets are Bb instruments and horns are F instruments, so will not read those concert pitch notes the same way. Sometimes it's implied, but normally it should be written. m. 51/113 - Especially with winds, you generally want it so players have an ending note to play in the next measure, and not just cut them off. m. 58 - Dynamics should be marked on the measure with notes. General notes: For a piano concerto, the piano is pretty underutilized. I know you have it so it plays melodies some of the time, but then so do your other instruments. It's always okay to have piano as accompaniment some of the time, but there should always be focus on it, even in a slow movement. String writing: some of your slurs are a little strange. And when you don't put slurs, the blowing comes out awkward. Generally, 16th note phrases (of 4) want to start on down bows, and eighth notes at the second speed of the piece can be played with 2 up bows in a row in necessary. Long slurs are generally not appreciated. Some composers wrongly use slurs are phrase markings. Don't be fooled. String players are wired to look at slurs as bowings. Wind writing: I kind of like how it's pecky at some points. With the exception of E, I can't see any major breathing problems, so good on your for that. Circular breathing is not for everyone. Like I said above, winds generally want to have some sort of ending note in a run or thematic passage, just so they have a bit more closure. You should probably add some slurs to various parts where there are triplets or sixteenths, since winds don't want to always have to tongue if necessary, especially with faster stuff. This was pretty nice sounding at the very least. Definitely tonally classically in sound. Nice- Cheers!
  4. Hi there; This is pretty good as well. Maybe your cello (I think that's what it is) is a bit too present sometimes, in terms of both volume and frequency. I'd imagine a motif like that coming back in everybody so often to give the audience a sinking feeling rather than having it always be there. The chords got better as it hit its stride; there's a couple parts in the first chords where they seem to resolve unintentionally (I think to F#, for reference), and didn't match the atmosphere. Probably had to do with the fact that you had more moving lines near the beginning. Experiment with it a little bit. Cheers!
  5. Recent addition to the daily sketch series, and I wanted to see if I could match my own competition theme. I was also kind of on a time crunch to write that day (hedging...) so the results did not follow my criteria very well. It ended coming out more of a "Fantasy on Some Themes" rather than a "Variations on a Theme". However, I still think the result is decently pleasant. Please enjoy this fantasy on themes by Hovhaness from "And God Created Creat Whales"!
  6. Cool! I do like the first one better, but that's because I'm a sucker for 13th chords (end of Mahler's "Der Abschied" as a great example). Maybe I'm hearing it wrong but there's a lot more contrast between consonance and dissonance in that one, harmonic "counterplay" that I really enjoy. I love that I still hear your style present even in this kind of stuff. Both pretty evocative pieces, regardless of their length. Nice-
  7. Pretty good. From such a premise, I would have expected a little more urgency? I suppose that only works if it's a cutscene. If it's one of those text based expositional scenes, something like this would work better because it's pretty constant and can loop. But I hope you know what I mean. This feels kind of like an aftermath to that premise you proposed, rather than an worried or angry reaction. To your defense, I have not seen the game, so I will differ to you on how well it fits. Music-wise, this was composed quite well. Good work.
  8. I have very few complaints about the chords you used. You string together quite interestingly. Movie score-esque but not to the point of cliché. 1:45 was a bit strange simply because of the A and A-flat juxtaposed. The last chord also kind of came out of nowhere, but I think it was fine. It seems like this was a percussion writing and synthestrating exercise. Your drums do one or two of the following generally: 1) they aren't present enough - there aren't enough of them to feel driving or impactful 2) they don't "sustain enough"- the sound kind of just dies away and feels weak 3) there's not enough initial impact on some of them - mainly a volume issue. 4) they don't vary enough - drums have their highs and lows, just like instruments do. I'm not exactly sure how that program works, to be honest, but see if messing around with mic locations (that's a Logic thing) or audio tapering would change anything. Pretty good work!
  9. I don't actually know the film you're talking about, so my comments might not be fair nor warranted, but I'll do my best. From what I see, it's a horror film from the 1920's, and just from that, I feel like you captured that type of feeling very well. Nitpick: m. 336, might want to have the right hand transfer to the bottom staff for the sake of keeping the treble note clear. I really like the canonic figure at m. 43; it's subtle and is a great change from the previous section. Some of your rolls might benefit from having staff transfer as well, but they're pretty okay for the most part. I know it's movie music so there's bound to be some odd changes, there's some abrupt changes in here, or ones that feel shoehorned in a little bit. Again, I know it's a movie scene I don't know. Overall, I do like the unsettled atmosphere that covers this whole piece. Well done.
  10. Very well. One more judge spot open (yes, I changed it to four judges, like Danish).
  11. My thanks! I'm glad you think so. These sketches aren't edited. After I write the last note of the piece, I force myself to avoid the urge to correct things. Sometimes it's very hard when I hear something off! :D
  12. Good to know!! 1) I will open the submission thread at the beginning of November, much like last competition. 2) Very good question. No, please stick to one entry. I'll put that in as well. Thank you in advance for your patience from here!
  13. MIDI sound kind of ruins this one a little bit. Not your fault. Slur problems in both the cello and flute throughout... most of them aren't impossible, they're just very impractical. Some would argue that the sound is all that matters, but I say that live recordings sound so good partly because they're written in a playable manner. I know it's a stylistic choice, but I would have maybe branched off a little bit from F major throughout (same can be said for you electronic version), but it works fine here, I suppose. What scoring program do you use? Some of those slurs and stuff interfere with the notes too much; just engraving issues. Solid work.
  14. I like this one better than the classical one. My gripe with this one is the fact that every note in the piano sound has an added interval of a perfect 5th. This isn't normally a problem, but is where there is an "E" played, it also plays a B natural, which is very NOT F major. I can't recall any times where they clash, but it is a little bit distracting to me. This one has a lot more atmosphere to me and has a kind of overture to a film score kind of vibe. Play with dynamics a little more; it felt kind of stagnant throughout. Cheers!
  15. If you were to use either, they would need to fleshed out in terms of parts a little bit more, I think. The melody transfers I'm hearing don't always work out smoothly. Rondo form would be a little interesting, considering you're going to probably use a relative or parallel minor key in the middle section, which is something you were kind of worried about if I read correctly. Also, either of these sections in this form would have to transposed up to D major in rondo form. Personally, since they're so short, I would first flesh them out a little bit and string them together somehow. Audiences tend to grasp onto longer lines better than a bunch of short lines (at least in large quantities). I'm a little bit interested how you would end up in C minor for your "to the end" section so that can play out, but time will tell.
  16. That's a pretty cool song, and I see what you mean; thanks very much! I go on hikes pretty frequently so I take miscellaneous pictures sometimes and I thought this one (for some reason; I'm not art critic, haha) captured the sort of pensiveness I felt listening to it again.
  17. That's so kind! I wasn't expecting much from it when I started writing the piece but ended up quite liking the end result. I'm happy you think similarly!
  18. The playback option is glitching out; I can't play it. Is there any way to edit it to work? I'll try to answer your questions. 1) You could, if you have a melody or countermelody you want to add on top of that, as a development. 2) Keeping the strings doing the same thing again will make them bored and can sound boring as well. You're going to want to change their articulation or arpeggiate them or something. 3) I'm not sure if you actually mean an "ascending chord progression" as you call it; you probably mean something more like the orchestration rising as you go. If that's the case, I don't know why you couldn't do both. The end of the second movement of Scheherazade is a good example of this.
  19. One of the daily sketches from a while back. It's not as quality, but I personally love the atmosphere in this one. I'd love to hear what you think!
  20. I don't have much to say about this one. It is ambient and I think would do its job pretty well. Sometimes I get the feeling of "underwater" but that's only in places without the treble drones really. I also think the cymbals are a little bit too loud; I like that you have a driving beat throughout but at that volume it got a bit distracting. Cheers!
  21. All intended entrants for the Fall 2016, Composition Competition must be registered by the end of this date. More information: http://www.youngcomposers.com/t34169/fall-2016-competition-announcement/#comment-1186668555
  22. Updated: Entries for the 8-Bit-Evolution must be posted by the end of this date. More information: http://www.youngcomposers.com/t34174/8-bit-evolution-competition-sept-oct/
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