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Some Guy That writes Music

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Everything posted by Some Guy That writes Music

  1. For a first piece, this is REALLY good. I have to say, even though I'm not a pianist myself, this is a good piano accompaniment. There's a couple things that I think you might want to look over. Most noticeable was the way you wrote down the lyrics. With words that normally have 1 syllable you wrote down two. Look at m. 10, the alto has na-me written down. As long as you make it clear, with either a slur or assumption, you can leave it as one word (like you did with 'mine' on m.12). By separating it into two parts a conductor might interpret it as 'name' and then hold 'm'. If you wanted the altos to hold the 'm', you might want to write a note in parenthesis after the 'me' part of 'name' and say "(Hold mmm)". Basically don't split up syllables where you don't do it where you speak. Second thing that I saw was the dynamics. The first time you introduce your sopranos, they're at pianissimo. Which is normally fine, but singing up to the E could sometimes be trouble. Trouble would be more likely with the tenors and their G on the pianississmo. at m.17-20. Most tenors of even high skill levels would say "Why does this Ruth dude hate me?". I think the sounds at those measures are gorgeous and I love what you did with it, but it a little high for the dynamic choice. Maybe a crescendo in the Soprano and alto leading up to the introduction of the Bass and Tenor? Loved every moment when you had duets between parts. I also love many of your suspensions, like m. 56 and m.60. One thing about ranges. on m.60, you have altos singing an E, which is out of many normal choirs alto range. It's not that they can't sing it, it's just they don't want to. I'd just move that E-D to the soprano 2 instead of Alto 1. m.35, a courtesy sharp in the bass would be appreciated (in this case with or without parenthesis would be fine). I think in a future pieces you should be mindful of the capabilities of the limitations of the different voices. As well as being more thoughtful to not give skips between phrases (like you do with the bass, poor guys). You have a couple points where you go to these beautiful chords but some voices are getting their notes from nowhere. I don't think you should worry about that aspect for this piece, as it's something that is meant in the early process and is mostly a hassle to fix. I really loved how you solidified the key. That's what makes this so great at times. Somehow there is a fantastic consistency that you've managed. It seems you planned this piece out before you wrote it. And it worked out quite well.
  2. I wrote the majority of this song in the last 2 classes of my AP music theory class. I hope you enjoy. There isn't anything about this that I'm super unsure about. I feel like the nature in eternity part could be better, but I in general don't want to mess with it too much because I like chords, and it's either trash the whole section or nothing rn.
  3. I love it, you've got some fantastic ideas. I loved where you moved to the thick chords, it mesmerizing. One thing I liked especially was your miserere, it's quite interesting. There are a couple things I'm not sure about. My first thing is that you have the sopranos singing high Fs, Gs, and As softly. This is pretty risky, firstly not a lot of sopranos like doing that, secondly musical directors like it even less when their sopranos have to that (in a piece like yours where everyone has an important part of the chord). When it's just the sopranos and altos, I find it less interesting, like on m. 35 and 36. That miserere feels like it could be better, but I'm not entirely sure if I should give my personal insight on that, because it might just be a me thing. m.28-30, I don't think that Bass 1 part is necessary, I think it'd be better in the tenor part. Especially with how important that Bass 2 part is in that series of chords. Also for your cadences at the ends of phrases, you don't need to put a fermata over each chord, I know you might be doing it for playback but ti doesn't hurt to mention. Putting a rall. says the same thing. I think this is a nice sounding piece, with some great parts, and couple parts that need that flat iron finish.
  4. Wow, this song has changed quite a bit since the last time I heard it. To be honest the first time I heard it I clicked off of it cause it bored me. But this version is really good. I listened through the whole thing, and afterwards checked that great summary before the piece. I can tell that this is a meaningful piece to you, not just by how much you say you worked, but by how beautiful it is. Even though this is just a crappy midi voice, reading along to your music gave me chills. Its a pretty heartbreaking piece to read, and the piano complements it so well. I just want to say bravo, you need to either perform this piece yourself or find someone who will.
  5. I think it sounds great, and any intermediate to good choir could sing this well. One things I'd be aware about is overusing dynamics. I can understand giving specific dynamics to have the computer sing it the way you want it performed, but there's a lot of clutter that would get in the way of singing the music. I think the best course of action would be to simplify the dynamics. Or leave it more to the interpretation of the choir director.
  6. I'm not used to writing for Brass, so this was more of a fun experiment with the Trombone's. There's plenty of really hard parts in this song, but it's more for fun than anything else. I didn't quite plan well enough for the limitations of a trombone, and at times I go a bit too fast, high and low I think.
  7. I enjoy it quite a lot, but I feel like the climax of song simply wasn't as long enough as it could've been, before you even realize how awesome it is, it's gone. It's quite beautifully done, but was simply lacking a "click" for me. I don't think it's major enough for you to go out and fix it though, being as it's length fits the form of your music. But in the future, be aware it might happen again.
  8. There was two reason, I wanted both the first and second beat to be nearly equal, and second, I wanted beat 3 to lead into beat one, sort’of like a cresc on each measure. I felt like if I notated it otherwise it wouldn’t send the same message, and choir directors would assume it’s a bit more boring that it is.
  9. I mistyped and actually meant m. 7. And those extra part in the piano were also errors. I guess I didn’t notice them. Thanks for your time
  10. I decided to go onto cpdl.org today for the first time, I was so overwhelmed by shear amount of texts available, which was nice since I had been struggling to find a text to write for. Well I found this one, and it was pleasing to read so I decided to make a (hopefully) pleasing to listen to piece. Its a pretty simple melody, but the harmonies get a little interesting at times. When judging my piece, if you could have a focus on, my harmonies and how effective they are, whether or not my bass part at 22-25 is too difficult for such a simple piece, if the tenor and bass crossing on measure 7 is acceptable and also if my piano reduction is good the way it is rn. Feel free to mention anything else you feel like, I wanted to set a guide on things I'm not certain about in this piece.
  11. As a learning composer, what is the true difference in writing for a quintet, a string orchestra, and full-blown orchestra. What is the difference in writing styles for the 3? I'm asking this because I feel like I'm not using the full potential of all the instrument (I'm writing a Requiem mass, and paused it so I could learn more about how to write). I was part of a group a few weeks ago. We had a full 200 persons chorus with a full orchestra. And It was riveting, and it left me wondering, how can I do something as powerful with my own writing. All-though I have a boat-load to learn in simple 2-part and 3-part and 4-part, I also want to have some fun. And writing a practice orchestral piece is next on my list. What is the order I should plan/create my music in. What specific techniques are useful for orchestral writing. How can I be like the cool kids with their orchestral pieces.
  12. It's very difficult to play a triplet on an off beat BTW (measure 9). Where does the 3rd note of the triplet go? Because it doesn't go on the 2nd beat. That was the only thing that bugged me. Other wise it's very lovely and I love emotion you produce.
  13. Whenever I try to make a piece for the piano, I always give up halfway because I realize I have no idea what I'm doing. So I decided to do a piece that isn't entirely interesting or challenging, but just something to let me know I can make something 'pretty'
  14. This song uses the words of Robert Frost's Poem October When Reviewing this things, I'd love any, but I'd really appreciate if someone could tell me specifically about: - The harmonies - What stands out (both bad and good) - And whether you think I followed the words properly Here is the Poem: O hushed October morning mild, Thy leaves have ripened to the fall; Tomorrow’s wind, if it be wild, Should waste them all. The crows above the forest call; Tomorrow they may form and go. O hushed October morning mild, Begin the hours of this day slow. Make the day seem to us less brief. Hearts not averse to being beguiled, Beguile us in the way you know. Release one leaf at break of day; At noon release another leaf; One from our trees, one far away. Retard the sun with gentle mist; Enchant the land with amethyst. Slow, slow! For the grapes’ sake, if they were all, Whose leaves already are burnt with frost, Whose clustered fruit must else be lost— For the grapes’ sake along the wall.
  15. Originally I was gonna make a short meme-ish cowbell and triangle concerto but then I created a theme I liked too much.
  16. I think what aim gonna do is look at what some other composers did for counter point. I’m a singer first, and I usually get over focused on the words. And forget about so much how it sounds. But what they’re saying. And it often leaves me trapped in this homophonic music throughout.
  17. I hadn’t even noticed how much I did that. It’s probably because I don’t know what to do on the intense parts that require counterpoint. For example later in the piece at the recordare (m. 255) I don’t quite know how to add parts that make the other parts more interesting, while also making the total sound very intense. Like what I wanted was ‘yo Jesus, I know I have forsaken you and now you’re crucified and scraggy, and I’m sorry’ and that moment I wanted every word to be important. How do I use counter point in while maintaining the intense fear that’s I’m trying to create.
  18. Very Beautiful, I'd love to be in a reverbiant area while a choir sang this for real. I'm loving the independence of each part while as a choir sounding beautiful. I disagree with DMT because I feel like the Ahs are beautiful and make the introduction of the choir less surprising. I found myself singing the bass part, the type of bass part I love singing. They seem very important.
  19. I'm currently going through a little dry stage in my composition of this piece. I think I started this like a week before the Summer Announcement but never got to finishing it. I'm not sure if I'll do a whole Requiem Mass but RN I'm planning on finishing the Sequence. It's current time is 10 mins. My expectation is for it to be 16 min. Feel free to make any suggestions. Even little ones like "m. 32 sounds weird but idk y" anything is really helpful. The last 10 measures are no where near what the final result should be also. When Completed the whole Sequence should use the words Dies irae, dies illa Solvet saeclum in favilla, Teste David cum Sibylla. Quantus tremor est futurus Quando judex est venturus Cuncta stricte discussurus. Tuba mirum spargens sonum Per sepulcra regionum Coget omnes ante thronum. Mors slopebit et natora Cum resurget creatura Judicanti responsura. Liber scriptus proferetur In quo totum continetur, Unde mundus judicetur. Judex ergo cum sedebit Quidquid latet apparebit, Nil inultum remanebit. Quid sum miser tunc dicturus, Quem patronum togaturus, Cum vix justus sit securus? Rex tremendae majestatis, Qui salvandos salvas gratis, Salve me, fons pietatis. Recordare, Jesu pie, Quod sum causa tuae viae, Ne me perdas ilia die. Quaerens me sedisti lassus, Redemisti crucem passus, Tamus labor non sit cassus. Juste judex ultionis Donum fac remissionis Ante diem rationis. lngemisco tamquam reus, Culpa rubet vultus meus, Supplicanti parce, Deus. Qui Mariam absolvisti Et latronem exaudisti, Mihi quoque spem dedisti. Preces meae non sum dignae, Sed tu bonus fac benigne, Ne perenni cremet igne. Inter oves locurn praesta, Et ab haedis me sequestra, Statuens in parle dextra. Confutatis maledictis Flammis acribus addictis, Voca me cum benedictis. Oro supplex et acclinis, Cor contritum quasi cinis, Gere curam mei finis. Lacrimosa dies ilia Qua resurget ex favilla Judicandus homo reus. Huic ergo parce, Deus, Pie Jesu Domine, Dona els requiem. Day of wrath, that day Will dissolve the earth in ashes As David and the Sibyl bear witness. How Great will be the quaking When the Judge shall come To judge all things strictly. A trumpet, spreading a wondrous sound Through the graves of all lands, Will drive mankind before the throne. Death and Nature shall be astonished When all creation rises again To answer to the Judge. A book, written in, will be brought forth In which is contained everything that is, Out of which the world shall be judged. When therefore the Judge takes His seat Whatever is hidden will reveal itself. Nothing will remain unpunished. What then shall I say, wretch that I am, What advocate entreat to speak for me, When even the righteous may hardly be secure? King of great majesty, Who freely savest the redeemed, Save me, O fount of goodness. Remember, blessed Jesu, That I am the cause of Thy way, lest lose me on that day. Seeking me Thou didst sit down weary, Thou didst redeem me, suffering death on the cross. Let not such toil be in vain. Just and avenging Judge, Grant remission Before the day of reckoning. I groan like a guilty man. Guilt reddens my face. Spare a suppliant, O God. Thou who didst absolve Mary Magdalene And didst hearken to the thief, To me also hast Thou given hope. My prayers are not worthy, But Thou in Thy merciful goodness grant That I burn not in everlasting fire. Place me among Thy sheep And separate me from the goats, Setting me on Thy right hand. When the accursed have been confounded And given over to the bitter flames, Call me with the blessed. I pray in supplication on my knees. My heart contrite as the dust, Safeguard my fate. Mournful that day When from the dust shall rise Guilty man to be judged. Therefore spare him, O God. Merciful Jesu, Lord Grant them rest.
  20. Weird I've also been recently learning overtones. I can control my overtones but I'm learning techniques to make them louder.
  21. the I before the X means 10 minus 1. so XXXIX is actually 10+10+10-1+10=39
  22. Definitely something I would want to hear again in a performance hall. Very beautiful. I'm usually not much of a fan for a baroque music unless it's really good. So I wouldn't really mind listening to yours again. My internet is getting throttled recently so I haven't been able to open people's PDFs. So I can't really find anything to correct. I want to hear Concerto XXXX now.
  23. Faure's Requiem. The modal changes and mood throughout make such powerful transitions.
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