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Everything posted by Monarcheon

  1. 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...
  2. 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.
  3. 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.
  4. 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!
  5. I'm glad you felt that way, that's what I was going for!
  6. 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!
  7. I'd say the reason for coming down before measure 11 is the use of the deceptive cadence, which is countertonal from the C# in the bass. I personally love the jarring atonal part just kind of slammed in the middle there haha. I can totally see why you're saying that, but it was just a choice to lull the listener into a very typical " i VI III V" chord progression only for it to come out of it like that. Thanks!
  8. Prelude Espirituelle was meant to be like a showy piece that someone would play for like a finale or encore or something. The only catch was I was supposed to write it in less than a day. So, while this piece may not be very practical (haha whoops), I think it can mostly be judged on musical ideas more than anything else. The person who told me to write this for her thought it was kind of impractical to learn quickly. Everything sounds kind of "pop-y" which is kind of good and kind of bad all at once. Thanks! (Copyrighted under the Opus 2 series)
  9. I highly doubt that; thanks for your kind words!
  10. The cello line in the beginning is great, except for the jump just before the first D in the middle of the staff. What's the purpose of the piece? If it's to be generally subconsciously processed and relaxing, the direction it's going isn't as huge of an issue and the modulations are more felt rather than heard. If it's not supposed to be that way, then the modulations should be heard rather more than felt. I don't know if you've decided by this point, but assuming you're trying to make this an ethereal experience rather than a sit-down listen piece, starting over would be counterproductive. You end in B-flat minor, so you could easily go to D-flat major, or the risky D minor. Have you experimented with modes in this piece? Locrian or lydian would be really interesting here with the clashing altered tones!
  11. Engraving: Your eighth note rhythms should mostly like be 3 sets of 2 eighth notes to match the ostinato (repeated) quarter notes. If you're going to use that much pedal you may be better off using the pedal line, where a caret break is used to indicate a piano break. Melody: It's fine for the most part, and what's good about the bass rhythm beneath it is that it makes it clear where tie breaks are within it. Make sure whenever you're modulating (changing keys) that the notes that the melody is using to get to the new key don't interfere with what the accompaniment is doing. Orchestration: The moving line of a piece should always be regarded as the most important, and where note changes should be the most smooth. There are some parts in your piece (especially in the horn) where the 2nd horn goes higher than the 1st horn for no reason, since it would sound better if the 1st horn just kept the line going (either descending or ascending. You use these things called secondary dominants, which is the cadence to a cadence point which helps you move through keys, which is great! The only issue is making sure everyone is modulating at the same time so it doesn't sound awkward. Going forward: You end on the half cadence of C minor, so G major. You can either go back to C or do a deceptive cadence and start a "B" section in A-flat major. Whichever you decide, you'll need to put a spin on your original melody going on. Good luck!
  12. I'm with Luis for most of what I thought. Some of the left hand inversions maybe could have been spaced out a little more to avoid it sounding murky, but this was pretty rare. Overall, nice work
  13. This is a piece that was done at a competition. It's a piano trio that tells a story of a woman who finds comfort in a solitary tree bathed in sunlight. This piece plays with major vs. minor a lot and tries to stay ambiguous throughout. Hope to hear what you all think!
  14. I'm a little confused as to why you didn't put the ending section in tenor or even treble clef; that might irk some players/also a couple 7 and 9 bar phrases confused me but is in no way wrong or anything. I played the first melody line through and was also wondering how you came up with those bowings. Maybe it's just me but it just didn't feel very natural to do. But I love the modulations and care to how they matched the strings. Lots of composers just don't care because they're considered bass instruments; I'm glad you do.
  15. I'd like to enter as well, if you'll have me.
  16. I felt that way too. But it's pretty, so what you weigh over what isn't really my business. In measure 25, I'm wondering why you chose to put Cb instead of B natural, because you have the D natural coming after it, and it would make more sense for it to be a B minor going to G major.
  17. This is kind of a piece I had written before knowing much about theory, but knew enough about composition and form to formulate a coherent piece. It didn't help me get into Oberlin so I'd love to hear why from you!
  18. It sounds nice, I just have a couple issues with some of your contrapuntal stuff; some of your passing tones conflict with a harmonic tone and other times your suspended tones clash with the bass line, mostly in your Andante section (i.e. m. 40 and 43).
  19. Pretty good voice leading for the most part. I just have to say that there's a couple "jazz-chord" notations issues, most of them dealing with diminished chords rather than minor chords, for example, measure 4.
  20. I luckily had something pretty much prepared. Hope you enjoy: http://www.youngcomposers.com/music/listen/6887/Nocturne%20for%20Anna
  21. I'd like to join as well, despite perhaps being a bit late to the initial rush.
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