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Monarcheon

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Everything posted by Monarcheon

  1. Interesting! I'm pretty proficient in Spanish, but never got so specific about music. The German class we're required to take for the theory masters is going to focus on music treatises so I'm curious to see how much extra jargon there is to translate.
  2. lol, well i'm certain that you do know that we just borrowed a lot of terms from math. Maybe your point is why bother using math to describe music, and I feel like it's just be concise about what you want to say about it. It definitely can be heavy-handed, though, I agree.
  3. Not even that, just an augmentation of a singular process stretched out. Focuses more on the hypermetric position of those changes as opposed to the strictly rhythmic.
  4. The opposite, rather. I enjoyed how you were able to feign motion by moving it around the orchestrational texture when in reality not much is happening in a given section.
  5. WHOA those trumpets are playing high in the beginning. Careful; music only sounds so good as the limitations of a given voice. I really like the more subdued parts and the subtle mixing of different textures with rhythmic pulse so as to mask the fact not much goes on between sections. In the B minor sustained 6/8 part it feels likes a justified resolution of those processes. My only complaint there is that the B5 is maybe preserved a little bit too long from there to the end; gets a little distracting. That and when you drop suddenly from the final crescendo, ending on the 5th scale degree of the tonic chord seems like an odd tone to leave off on, both because that B was so prevalent, and that it implies that the VII chord before it was really focused on E, instead of A, which forces a whole turnaround of listening.
  6. No audio/score? Quite the Christmas present haha.
  7. Thanks for the kind words, everyone. I haven't expanded upon it yet, but perhaps a small Webern-like set wouldn't hurt sometime down the line. 🙂
  8. It's a cool idea, but maybe a little too dependent on standard oscillation. If you had a juxtaposition of that normal tonality mixed with the oscillated material it'd create a cool little moment that could link two separate processes together, a great technique for film music, since it lets things sound resolved when musically they haven't really at all.
  9. There were nice little touches when the piano and melody went to different scale degrees at the end of a phrase. The sparse use of percussion (esp. timpani) seemed a little strange, and didn't really complement the vibe, at least for me. Seemed like it was their to prime the audience as it being dramatic, and then end it the same way, but I actively had to make that connection; it wasn't really there inherently.
  10. Somehow yours feels more hopeful. Maybe it's just the better sound quality than the original. Something I think that's missing a little bit is the unease that is created with the bass motion to D˚. That stark contrast to an already somber piece of music is a highlight of that work and it seems a little glossed over here. Good work, though.
  11. I think this is what I mainly heard as well. The final section was super interesting especially in the contrasts to the performance tempo direction at the beginning of it. Filling in more orchestraional parts with elaborations on that trumpet motif would be great; what developments are possible to make those not seem like outliers?
  12. The exercise of arranging is finding different ways to adapt the original piece. You have no obligation to be faithful to the original. Part of what makes this piece so memorable are the sudden deviations off of a theme in a very isographic sort of way, so that even the most jarring changes seemed planned. Experimenting with texture a little bit more to highlight these sorts of things might help its cause. The cello in its current state will not sound super pretty without careful dedication to position changes, as the constant string changes will potentially lose some of the effect of the left hand of the piano.
  13. The playing only gets in the way when trying to discern the effect you're going for. The D major variation, for example, has a lot of rhythmic dissonance but it takes me time to understand where it's used intentionally. Now, "ingenious", huh? I wouldn't even call Schubert's original theme ingenious, haha. I think the minimal voice leading in harmonic changes is nice, but closer voice leading could be done to extend the modulatory passages, and not focus so much on the functional aspect of it, which I begin to hear in your use of X7(#5) chords, but could also hear be taken far further to truly put your own spin on it.
  14. Liked the vibe of this. I don't totally agree with the above comment about length, but the development of intervals through a consistent means was heard well enough. m. 14 did strike me as uncharacteristic at first, but its devolution was a nice little effect. A tad more time into that might have been welcome.
  15. No need to worry about that; for advanced pianists, this is certainly on the more approachable side.
  16. I get a bit of rhythmic dissonance here with the desire to rest and the desire to move and sometimes it shifts between them a little too much for me; imagine a species counterpoint exercise moving between first and second back and forth... I get that kind of vibe from it at some points.
  17. Agreed. vii˚ with a pedal tonic can be a normal voicing, but a lack of a 5th scale degree takes it a bit out of context for grounding such a tone.
  18. Places like m. 101 not just being a dotted whole note are somewhat strange...
  19. What's the etude factor here? Also, please do consider reviewing other works on here as well. We're not here *just* for people to get exposure.
  20. Some uses of chromaticism, especially at modulation points and melodies (i.e. 1:20) can be a little confusing. It's a nice touch, but their use seems superfluous.
  21. Monarcheon

    Ghost

    To add on to that, the differentiation between using a m7 chord and a standard triad in certain places was a nice touch, since it was frequent enough still to call a pattern. I think my main complaint here is that the drops and risers don't seem very effective to me; you seem to backpedal from their effect sometimes which is cool in certain instances, maybe just not every time.
  22. @KJthesleepdeprived, many thanks for requesting that "destroyed works" thread be overturned. It irked me a little bit as well. I've seen people come and go from this site, and was around for its main, populated phase for just a little bit back then. When I came back, it was relatively empty. I sound like one of those sheriffs you see in westerns. I'm a masters student in music theory in Canada right now (though I'm from Seattle), focusing on 20th century art music mixed with jazz/musical theater. I've had a rough history with writing music, so my whole ethos of composition is totally messed up, but I'm trying to find a nice middle ground with it. Before comp, I was originally going to go into physics and environmental science, but that didn't end up panning out and I don't know if it's for the better yet lol.
  23. I definitely am most of the time (you'll see when I post my Christmas music!); this was written for a friend who kind of hinges on the edge of enjoying modern stuff. I don't plan basically anything I write, so the fact it comes off as repressed as opposed to slow/boring is just as good as any compliment. Thanks!
  24. So I'm not sure how to feel about this piece. It's not really bad– everything is cohesive enough. Maybe I'm not used to writing in stasis anymore.
  25. The idea of it is pretty cool. I like how the beginning comes back near the end of the exposition, but it seems a little heavy handed at the beginning in order to achieve that effect. What might be cool moving forward is preserving hexachordal combinatoriality with the start of that figure horizontally and vertically, since you seem to already want to do that in places like mm. 21-23. Finding a way to invert that combinatorial figure vertically would give you a lot more early-position row forming down the line that all sounds similar.
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