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Everything posted by Mark101

  1. Thank you very much John, I really appreciate you taking time to listen, it's not a short piece. I don't know Burgmuller, I'll have to go have a listen now but yes the style it of the early romantic period, not because I was looking to do that specifically, it's just what happened when I came to write it, but then I am a lover of the romantic period so.... It's my first try at a piece of such length with at least semi full orchestration so I'm really pleased you thought it well balanced. Theo Servin is indeed a very talented composer, I like his work a lot. I think he has a very bright future ahead. Thanks again for your opinion, I really appreciate it. Kind regards, Mark
  2. I'm sure, as you obviously have considerable skill, that there is easily enough material in the second part of your waltz to make it a piece on it's own, and I would really like to hear that too.
  3. I pressed play, and after a couple of seconds, I was going to press stop and go look for something else, but then it turned into something really quite beautiful and accomplished. I still don't really like the opening theme or the return to it, for me, it doesn't fit with the rest of the piece, neither in it's melody nor it's complexity, it seemed too cliché, but that's just my personal opinion, the rest is really beautiful as I said. I dare say that the juxstaposition of the two parts was one of the main ideas behind this piece and completely intentional, but for me, it does sound like two separate pieces joined together, one of which I liked immensely, and other, not so much lol. Sorry, I hope I don't offend you with this comment, it's just how it made me feel personally. Kind regards Mark
  4. Hi, Does your song have words? I think I would be tempted to take it at a slightly slower pace and give it more sustain pedal, give the piece room to breath. The last few heavy chords were a bit too much for me too, although it would probably make more sense with a voice track added. I liked it though.
  5. LOL, I know what cojones means, I live in Spain and am married to a Spaniard, so I speak Spanish very well, but to translate literally would not be understood in an English speaking forum. Pero en Español, es un frase muy comun, que significa, mas o menos, lo que he dicho, por lo menos, en este occasion.
  6. Well, just to throw my two penneth in, I really believe that "originality" in the basest sense of the word, doesn't really exist. We have even had works of complete silence, so if you can tell me a style or genre that doesn't yet exist, (which by definition, can be the only "original" form of composition, then I would love to know it. In the past, "Classical music" didn't exist either, there was just music. There weren't enough alternatives to warrant a distinction between genres and so the term Classical music was never applied to the likes of Bach, Handle, Mozart, Beethoven etc., in their own times as they were really considered the pop musicians of their day. Now that we do have the distinction, we have to consider who we want our music to appeal to. The vast majority of ordinary classical music lovers, the general public, which is the greatest audience for our craft, still prefers tonal, melody led music with conventional harmonies and meters. It really is a much smaller proportion of the audience, (still a huge number however), that are looking for "new original" music. Given that on one hand, anything you write, provided it is not a direct copy, is original, and on the other hand, since everything has been done before, nothing is original, then really the only thing that remains, is a question of individual taste, and to which audience you want to appeal. I think also, if you get caught up too tightly on trying to be original, then you compromise yourself in as much as the reason you are writing, is not because "es lo que sale de los cojones" (this is what comes out of your soul), but rather to try and prove something to either yourself or to others, and I don't think that should really be the motive for producing art, of any description. Although I should also say that ANY motive for producing art, is a valid one, as long as something is being produced that someone else can appreciate on whatever level, then it's good.
  7. I like it even more with your voice, it makes much more sense. Going back to your original question of submitting it to a composition competition, I'm not aware of any competitions that would be looking for songs per se, even though it's a lovely song and not badly orchestrated either, I think most would be looking for new classical works ie., concertos or symphonies or stuff similar to that. Also, this is tonal, melody led music with conventional harmonies and progressions (this is similar to stuff I write too, and I like it a lot) but most composition competitions that are out there, are looking for work that is much more experimental, not conventional at least. However, you don't need to win any competitions to compose music, you just need to love what you do and keep doing it. You obviously have a talent for it, so just go with it. If you do want to submit any of your work to a competition, then don't let anyone stop you, who knows, one day you might the one who wins. Kind regards Mark
  8. Hi Lydia, This is lovely, I like it. You called it a song, is that how you're thinking of it? It does have that feel to it in as much as you have a repeating 4 chord progression for a large part of the piece with variations here and there, like you would have in a song. Nice work. Kind regards Mark
  9. Hi Rabbival, Thank you so much for this great input, I will certainly take it under consideration when I next get to editing the piece. The point about the clarinet and bassoon line I hadn't thought of, not being a wind player, so definitely I will do something about that, the cleff change also for the piano part, just an oversight. I don't really tidy up the score as I should because I know that no one is ever going to play it, so why bother? As long as Sibelius plays it more or less how I want it. But, it is good practice to do it anyway. I know what you mean about the triplets. I did get a bit tired of them also, but in my mind, the third movement, is a sort of continuation of the first in as much as I wanted to return to a similar mood and place, whilst not repeating any material from the first movement, to give it a sort of sonata feel, and the triplets seemed necessary. I did try other things and I have tried to break it up here and there, but there seemed to be no escaping their use at this point. I have started to plan the next one, and I have determined to NOT use triplets, at least not in such a constant manner, I'm a bit tired of them now lol. Thanks again for taking the time to really listen and to give me some very useful feedback, I really do appreciate it. Kind regards Mark
  10. I like this one too, lovely melody, well done.
  11. Bravo, this is a lovely prelude, I like it a lot, great work.
  12. Hi Maarten, Thanks for your kind comments, I really appreciate it. I will post the score for you if you would like to see it, however, as you know music theory is not a strong point of mine so there are lots of bad enharmonic spellings, wrong note values ie. using dotted notes instead of tied notes. There are lots of notes tied over the bar so that Sibelius will hold them a little longer to provide a sort of fade instead of a sharp cut off. Also one of the stranger things considering that I'm a pianist, is that the piano part has very little articulation, mainly because Sibelius doesn't really play it any differently whether there are slurs, legatos etc. and so I tend not to bother writing them in, I should, I know, my bad. So, In other words, the score is a HOT MESS lol. However, here it is, and once again, thank you. Kind regards Mark https://www.dropbox.com/s/n8v7qnfojwjqsdd/Piano Concerto No.pdf?dl=0
  13. Thank you Louderme, I-m so glad you like it, I worked hard on it and it's nice to know that others appreciate it. Kind regards Mark
  14. Thank you Louderme, I-m so glad you like it, I worked hard on it and it's nice to know that others appreciate it. Kind regards Mark
  15. J Santos and Ho Yin Cheung, Thanks a lot for your very kind comments, I really appreciate them and I'm glad you liked it. Kind regards Mark
  16. Thank you Theo, I really appreciate it. Knowing your music, which I consider extremely well written, it means a lot to hear this from you. Regards Mark
  17. Thank you so much Tónskáld, I know that the music I write is often thought of as pastiche, that's ok, each to their own, and I can understand what they mean, but I do always try hard to make it still sound like me, even though I use styles and forms that are , for want of a better word, out dated. So it means a lot to hear that even considering that, there are still people who can put that aside and just enjoy the music. Kind regards Mark
  18. Hi all, I've not posted anything here for quite a while, been busy with other things, but I've also been working to finish my first fully orchestrated piano concerto. The first movement was posted here about a year ago, but the second and third movements are new. The first movement has also been edited and hopefully improved as I added a short cadenza that I felt was missing from the first movement, as well as changing the odd passage here and there. Anyway, I'm pretty pleased with the final edit. As always, any comments are welcome and gratefully received.
  19. This is great, I like it a lot. It's tonal, but put together in a really interesting way that makes it feel quite fresh. I might like to have varied a little that constant return to the high G, just give it a feeling of progressing beyond that limit here and there, but that's a personal observation based on something I might have done if it were mine, but that doesn't take anything away from what is a great piece.
  20. Thanks Pavlos, I really appreciate your comments. I've been working on this concertino for some months now. The first movement now has a cadenza and a reintroduction of the first theme, as I also thought it needed to reappear somewhere. The second movement is finished, and the third is almost finished. I haven't yet posted them here as I wanted to wait till it's all ready, once it is, I will post them and see how it goes. Thanks again for your comments best regards Mark
  21. Thanks a lot arielbibo, sorry I haven't checked into the site for months so I missed your comment. I really appreciate it.
  22. You say that normally when you write a piano piece, you give up half way through because you don't really know what you're doing. So, what to do next? Well, rather than treating this piece as a finished article, treat it as the skeleton of a finished article. What I mean is that you've got here something that by your own admission is not entirely interesting or challenging, but it could become something much more interesting if you take it and try modulating to different keys, you do already vary the rhythms a little here and there and changing the left hand up every now and then, but keeping the whole thing in the same key is really not good. have some fun with it and see what you can do.
  23. Hi Serge, These two pieces are both great, although I think the better piece is the F minor. The etude seems like a collection of ideas that are hanging together, while the F minor seems more like a whole homogenous piece. I like a lot that while the language you use is tonal, melody driven, classical for want of a better word, the way you use it and the direction the work takes is quite "original". Regards Mark
  24. This is a great etude, I like it a lot, however, I think the midi playback is hampering the outlining of the melody in the fast movement, maybe some accenting or dynamic profiling could bring that out some more, as could slowing it a couple of points. I often find even just 2 or 3 bpm's can make quite a difference to a midi playback. The slow part is very lovely, you have some great harmonies, although I didn't see the etudinal value of this section, but I did enjoy listening to it very much.
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