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Monarcheon

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Everything posted by Monarcheon

  1. My sentiments exactly. The style in opinion gets pretty repetitive after you analyze the piece for a few minutes. Maybe it's purely an audience piece so that wouldn't be an issue, but that's what I saw. For example, I think it's really beautiful in places, but when you hear chord progressions instead of notes, it gets kind of monotonous.
  2. I also mirror Luis's comments for the most part. To be honest, I was a little put off the intro considering it was a lot of C9 and not much else, but the rest of the piece was great.
  3. Thanks again for commenting; hm, I can see what you mean with the progressions. Perhaps I was just too focused on the melodies.
  4. Thank you very much! The third movement is kind of a joke movement at the tempo I marked it at so I don't know if I'll be posting that one. :D
  5. I don't think I was around for the initial challenge, but it does seem like you were pretty inspired by the theme. m. 8: I find the rit to be a little of place. I hear it a little bit better without it. m. 20: A-flats? Overlooked mistake or is there a transitional reason? m. 38: The augmented major 7th chord that comes out from the pedal is really interesting and warrants that minor third resolution. That was cool. Good work and it was entertaining throughout, definitely!
  6. A while back I posted the first movement of this concerto. This is the obligatory slow movement of it, and I think it flows better than the first movement. A lot of inspiration was taken from the Barber violin concerto, and was written kind of a while ago, because I was obsessed with that piece for while; haha.
  7. Hm... this sounded a lot more like a "the hero rushes to save someone" just because of its relatively slower and energetic tone rather than a strictly urgent one. But you know the film! :D Anyway, I'd say it's pretty good. I would have maybe added the drum beat from the beginning at the end because it would give audiences that "familiar" sense that we aim for sometimes. Interesting stuff.
  8. The imitative polyphony in your eighth note, dotted half rhythms can sometimes go in weird directions... sometimes they cross voices, sometimes they add a strange tone to transition out of. It's nothing you would really notice without the score, for most people, so I wouldn't worry a hell of a lot.
  9. This is really cool. Peaceful and very unique with its chords. I'm not entirely convinced by the 3/8 chords transition; for me, I think it interrupts the melody a bit. But little things like that aside, I liked this a lot. I'm never good at jazzy progressions and it's always nice to see these and learn from them. :)
  10. This is really charming. Although I didn't know clarinets read alto clef too (m. 28); staccatos on half notes were also interesting :D. Tactically placed diminished seconds and great transitions really made this stand out. Good job.
  11. Cool stuff; interesting hemiolas in there and there and other rhythms. Very unique.
  12. Yeah. Most of these daily sketches are a practice of melody, but this one had some orchestration. Those quadruple stops can definitely by played and so can the tremelo double stops! Not at the same time of course, but if a player sees that, they'll know to roll it slightly. There isn't necessarily. When I was younger and my Youth Symphony director wanted me to write a piece, he took a look at the first couple drafts and had me do some easy 18-19 century style pieces to get me to write stronger melodies in a very safe and simple environment. I'm with you in that there isn't much to go for past that, but I mean, hey, look at the pop music the world listens to know. :D
  13. The 29th sketch was supposed to be an exercise in an older style for either quartet or chamber orchestra. Near the end you can tell I got bored of that, and ended with a very obviously not-older-style ending. Not entirely convinced by it myself, to be honest. Enjoy!
  14. This was definitely a cool piece. My main criticism (if I'm allowed to do that) would be that some of your textures align a little bit strangely, and to me don't sound completely natural. But seriously; kudos for getting this in rather quickly and for such a larger ensemble. Now I feel kind of meek for only doing solo cello. :D
  15. So I don't know if you know this, but this sonnet is part of what scholars call the "Dark Lady" sonnets, which are odes to a unknown person that differ from his previous ones, not necessarily in tone, but in audience. What I think is cool that you've done is weave in between this with varying articulation. These sonnet type reiterations kind fo bothered me a little bit because some of the beauty of the sonnet originally was its Iambic Pentameter, but you've also seemed to figure out how to cope with that in your writing. Glad you could make it in on time!
  16. MIDI is a terrible thing isn't it? Going to be honest, the histories are some of the plays I've never read, but based on what I know from regular history, this sounds like a fine translation of it. Your textures are great and varied and support a very strong melodic line throughout. Nice!
  17. I do like how this piece sounds very much. And I don't want to sound negative because the piece really is nice, but things like string slurs and how fast they can play in the faster sections are kind of an issue if it were to ever be transferred over to a live performance. But that's just small stuff. The opening really got me engrossed and hearing the motions of it was really great!
  18. Playing cello rather proficiently, I'd say I have an advantage in writing for it, but your praise is appreciated nonetheless!
  19. Thank you! The last variation... man, if only I had played it better in the recording!
  20. Wow, you and I really had different interpretations of the source material! A couple interesting things here and there, and I really did enjoy listening to it, even if it didn't match what I saw in "Hamlet". The 9th chord at the end was gorgeous and a really welcome surprise callback. Lovely!
  21. This was really cool! Short form, but very effective. Mainly you just need to add some divisi markings (string players always ask even when it's obvious), but very good work!
  22. Hm, perhaps that's just a Garritan file sample issue? That really wasn't what I intended necessarily. Thank you; they've gotten a lot better since, haha. I mean that, as viola plays a certain note, I work around that in the piano to have that be a certain note in an inverted chord. For example, if the viola plays E, then F, the piano might play a C major chord (with the 3rd in the viola) then something weird like a F# major chord (with the M7th in the viola).
  23. Gonna be honest here... I don't hear the Schubert Quintet when I listen to this. I'm going to assume it's supposed to be neotonal or atonal, and not necessarily in D major. I don't really hear the tonal center until about m. 19 and it tapers from there relatively quickly. Also feel like you should change the clef of the 2nd cello near the end, there. Why did you write this in cut time? Especially past 167, the piece kind of suffers in its engraving by having it in cut time; a lot of tied over whole notes and half notes, and not really necessary. 4/4 with a cut tempo might have looked better. I know it's supposed to be a very sporadic piece. But it's supposed to be tonal, it may be a bit too sporadic. I don't get much sense of a form in this, and the melody is cut off maybe a little too often. In general, I feel like there's a lot of ideas that just don't get developed enough. Of course, maybe you like all this, and if you do, who am I to tell you that's wrong? Cheers.
  24. This is the piece I opened my daily sketches project with a long time ago, and it shows; it's not very good. I think I was trying to mess around with chord progressions using strange inversions, but I don't think it came out as I'd wanted it to. Hopefully you all can still get some sort of kick out of it :P
  25. I do like how themes and motifs sometimes collide together from seemingly separate sections of the piece. I do agree with Sebastian in that the C string is underused, but if it's done that way to make it sound more like a singer, I totally get it.
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