Jump to content

Hugget Zukker

  • Content Count

  • Joined

  • Last visited

  • Days Won


Everything posted by Hugget Zukker

  1. Tomorrow is the longest day of the year on a Sunday in my country, at which time people burn a dummy witch per old tradition, and this afternoon, I just felt in the mood to finish this piano piece. I feel like it has a bit of summer in it. But I actually started on it back in April or so, then put it in the drawer, because I found something off-putting about it. I hope it sounds reasonable now.
  2. Thanks for the points of critique. They're all valid, but I still think what's laid out here calls for slow development even if it's boring. In time, everything will change. Patience is important in life 😛 I've developed it some more, and got it up to a modulation for a B section, except I haven't written that B section yet. I had hoped it wouldn't turn into static (as in background) music, but you're right; that's what it is. Not that there's anything wrong with that, but it's just not what I had aimed for in the beginning. I love long and subtle buildups that lead into something powerful, and that's what I wish I had achieved... Maybe I can still achieve it? I wouldn't like sax or guitar in this, but thanks for the suggestions. Not that they wouldn't fit in, but I just don't want to do a really jazzy arrangement for this. The brush drum kit could give one the impression that this was going for a classic jazzy vibe, but mainly I just wanted it for the effect. Instead I've got solo strings, celesta, flute and clarinet now. But accordion could have been very interesting come to think of it.
  3. Hiya! I am kind of in a rut with this. I guess it's atmospheric, but I kind of want it to escalate into something dramatic. One nagging question is where to go with the instrumentation. Should big sweeping strings roll in? Should the drummer go crazy? I can imagine all that, but then I can't figure out how to segue into it. It probably also needs some contrast before returning to this theme. The way it is now, it seems like the most natural thing in the world to begin on yet another iteration of the same thing, but by then it really should start to mix things up. And I'm dying to have the instruments play something more interesting, but I have been going for instrumental simplicity so far. I wonder if the harp is written okay. I read this for some guidance: https://www.danielleperrett.com/writings/tips-composing-for-harp/ Do you think the chords may be a little atypical for harp in that they are not broken and only slightly rolled? At least they are all four-note chords, so I hope that would be easy enough? Having never had my hands on one, I'm left to guesswork. Then you might say, why write for it at all if you don't know it well, but I'm going to give it a hopeful try, because it's a really pretty timbre. I didn't notate the drum part yet because it's the same every single bar until it rests, and because I don't know how to notate it. Trivia Up until bar 36, the harmony sticks entirely to the scale or set {A, Bb, C, D, Eb, Fb, G}, and I think the melody only breaks away from it a couple times for color. This was actually the device that inspired me initially. I don't know what this kind of parent scale is, but I thought it was very interesting in terms of harmonic progressions, and also in terms of possible sonorities. I want to explore that some more. Sus chords really help when limiting your pitch material like this; they can hint at various major and minor triads not available in the material and take you half the way there, or ambiguously through merely suggested harmonic territory. Unlike harmonic and melodic minor, this scale contains no augmented fifths or diminished fourths, so when the D augmented seventh chord is rolled by the harp in bar 36, it sharply breaks away from the predominant intervallic content.
  4. My fat fingers did the page refresh shortcut in the middle of composing my comment. So here we try again. But at least I got the B. That's pretty close, isn't it? Thanks! Oh, no no no, I don't know more about harps than you do if you're already trying to figure out pedals and stuff. My harp knowledge is on the level of Monty Python's How To Do It lesson on how to play the flute. As for the key, I probably gave more thought to my pairing of socks this morning than I did to the key of this thing, and I probably should have transposed the whole thing up to F if knew what I was doing, to get a whole lot of naturals. I'm no good at writing for real, actual instruments played by living, breathing humans. Thanks. You're totally right. This is but an unambitious little doodle that came out of some nerd'ing. I have modes popping up all the time in my music, but I rarely immerse myself completely in one sound. I think if the piece had a real length, it should definitely go beyond. So would you. However, the thing is... that I... kind of overwrote the project file, which I used for tinkering. It was an oversight. I know... I'm sorry. But I'm not feeling up for a transcription by ear now. With audio online, I guess it's now an undead piece. I tell myself that I can listen to the mp3 to extract ideas for the future. Oops, I forgot the #4. Oops, I wrote in a bad key. Oops, I deleted my comment. Oops, I deleted my piece. I'm on a streak! I better block my bedroom door tonight.
  5. Hello. It's been a while since I've posted some new music. I'm experimenting with unusual modes to get more familiar with their sounds. Out of this came a very short piece for two harps written entirely in E lydian b7. This means that the only pitch classes present should be E, F#, G#, A#, B, C#, and D, and E should feel like the home note. Whilst it brings out the unique flavor of the mode, it also severely limits the harmonic possibilities; it isn't functional harmony, and you need to constantly reinforce the tonic by other means than authentic cadences (since there is no proper leading tone), so the harmony is mostly based on "vamps" - alternating between two chords to prolong the tonic. I came to really like the sound of this mode after toying around with it. It sounds bright like normal lydian, but with an even more mysterious tinge.
  6. I'm really sorry about this late announcement: I shouldn't have entered the competition, but due to poor judgement, I thought I'd be able to participate. I've been too busy to make an eligible deliverable in time. I've barely started on a few different ideas, but haven't gotten anywhere with them, and at this point it's too late. I'm so sorry.
  7. I almost forgot. Hi, I'd like to partake in the apocalyptic competition. It's hard for me to promise much, but I will really try to make something qualifiable before our times run out.
  8. The heckelphone sounds very beautiful. I may prefer its sound over that of the English horn. It's quite rare though. Then I may write it "for heckelphone", but make it playable on the English horn.
  9. Long ago, I had started but given up a piece for piano and oboe, but recently I found it again, and decided that it needed a darker tone, so I tried writing it for the English horn instead of the oboe, but perhaps the English Horn was not dark enough, so I also tried the bassoon. Here are versions with the bassoon and the English horn respectively, for comparison. I think I prefer the possibilities of the bassoon for further work on this, but the English horn is also beautiful. I think the bassoon lends it a more narrative feeling, but the English horn gives it more poignancy. I want something in-between - an English bassoon!
  10. I want to write a duet for piano and bassoon, but I don't know much about the bassoon, so I have a few questions. I apologize if my questions are too loaded with ignorance, or too general: You don't have to answer them precisely, but if you can share any advice, that would be wonderful. Tessitura and dynamics: How does tessitura affect the ability to control dynamics? Tessitura and sustain: How does tessitura affect the amount of effort needed to sustain a note? Trills and runs: What is the difficulty of trills and fast runs on the bassoon? Are certain keys more feasible than others? Leaps: I've noticed that bassoon lines often feature large leaps and arpeggios. To what speed and range should I limit them? There may definitely be important questions which I have overlooked, so anything else about bassoon writing is appreciated. Thank you very much.
  11. I had never heard of this until today. Sorry if that's a disappointment, but I don't care. I find this so interesting and gorgeous.
  12. I like this, especially the brasses, but it sounds unfinished due to the sudden fadeout.
  13. I had not heard the full story until now; interesting. @Luis Hernández Thanks! I am highly grateful for the opportunity, encouragement, and freedom I was given. I was worried about doing something which might undermine the composer's intentions. It's a little bit scary to add driving percussion to another person's dear piece for strings. It was at first a leap of faith to take it in this direction, but I'm relieved by how it worked out and Rabbival's reaction. I got his feedback and guiding hints along the way.
  14. I like it! If you'd like, I could arrange a version with sample modeling instruments some time. PM me.
  15. I'm flattered! Did you do well at the exam?
  16. Sorry, I don't have experience with them, but my theory is that it's an attempt to offer an efficient compromise to producers who might have neither, or not have either, the patience for the full detail of the orchestra, n/or sufficient horse power to run the full gamut of instruments. I'm not interested in buying it any one of these days. Even though my computer can't deal comfortably with tutti made of normal VSTs, I don't find Albion One appealing enough to throw my money at it. It would end up sitting around on my hard drive, and I'm running out of space. I find Metropolis Ark 2 particularly odd: It has a patch made of basses with cellos an octave above 😒
  17. I believe I finally completed this piece, which, based on previous feedback, I think is in the general style of a European folk tune hybridized with a march. Earlier I posted an incomplete version, which you can check here for comparison: Thanks to the people who responded to the incomplete work, for their motivating reactions. Thanks to Rabbival507 for suggesting a "fast section" - a device I have noticed in folk music. I went with it, which kickstarted me again. It's 2 violins, viola, cello, 2 unison double basses (pizzicato only), concert flute, bass flute, nylon string guitar, tambourine, cymbal, snare drum, and bass drum. EDIT: AND TRIANGLE! A dutifully returning main theme is interspersed with a chorus-like secondary theme, and variations and spinoffs on the main theme.
  18. I love how they enjoy themselves! Hiromi's playing sometimes frightens me (in a good way.) I love how crazy she went after 6:00.
  19. Thank you all for the feedback, but I'm actually still struggling to write the rest of the piece. I believe that a contrasting section is appropriate at this point, and I'd like to modulate the way you hear at the end of the unfinished piece, but no matter what I try to write, it seems too different from the rest. Should I reuse melodic material? I feel like it's already exhausted. It's like my structural sense is only developed to a certain point, and once I push beyond that everything feels off.
  20. Thank you for the suggestion and the appreciation! The violins, viola, and cello are all Sample Modelling. I used to think the SWAM strings were second rank, but I have warmed up to them. I don't use a keyboard, but place notes off the grid, and draw curvy automations of dynamics, bow pressure, and bow position. If you think that's a lot of work, you're right, but I enjoy "painting" music. I want to be a naturalistic music painter.
  21. Something good always happens on a Thursday. It's been a hard work week, and I'm a little dried up. Nevertheless, I managed to compose something in the hot evenings. I'm excited about how this piece is coming along, and therefore I want to step carefully. I've decided to let you guys share your thoughts on how this might go on, or critique what's already there. It would be heartily appreciated 😀 I think it sounds like a parade due to the rhythm and the sectionality; unfortunately that's not a word in English. Note 1: The "end" is weird; I'm aware. It's a work in progress, and the very last part is just meant to suggest the bed of some kind of bridge (contrasting part) perhaps to come. Note 2: This was made with Sample Modeling strings and flutes, Orange Tree Samples nylon guitar, and some built-in Kontakt basses and percussion.
  22. Beautiful and soulful. Excellent melodic writing. I'm sorry, I don't have anything more insightful to say than that; I don't know about choral writing. It would be very interesting to hear a performance.
  23. Sorry, that came out wrong. It's easy to mistakenly expect the electronics to have a more upfront role when "piano and electronics" is in the title. I think it calls for decent speakers, but there's absolutely nothing wrong with that. It means you're not compromising your art.
  24. The synth part covers only a very low frequency range. I use a pair of "basshead cans", and yet it was at times very hard to hear. But I could hear it, and in my listening it served both as atmospheric padding and as a pedal to color the scales played over it. I readily identified the colors of Aeolian, Dorian, Phrygian (very briefly), and then Lydian or its relative Locrian (this sounded interestingly ambiguous to me) in the early piece. In the late piece it got harder to pin them down with the faster changes, but more interesting.
  25. I love it! There's good unity and contrast between the movements. The overall tone is whimsical, but it gets sensuous and explorative in II, and strange and foreboding in III.
  • Create New...