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Jan-Peter de Jager

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Everything posted by Jan-Peter de Jager

  1. A little more explanation and a response to the comments: After choosing the scale I chose the melody. I applied these durations to the pitches of the melody (there are four phrases): 1. Long short short long long long short long | 2. long long short long short short long short long | 3. long long long short short long | 4. long long long short short long long short long short long| In the cello and contrabass I used the same durations but slower and of different lenghts (since long-short are broad categories). The violas go at times with the violins rhymically, at times with the cellos/contrabass and sometimes have there own rhythm. After 12 bars the melody repeats but starting at the G. The lines of the viola and cello/contrabass are different. Thanks for your comments @meastrowick and @jawoodruff! I will explore this further. It was an experiment, a free exploration. I realised it needs more boundaries and the suggestion of jawoodruff ( Explore strident tonal relationships) is a great way to do so. Thank you! You might see more of this 🙂
  2. I was experimenting today with the following 'scale': C, C#, D, E, F, F#, G, A, A#, B, C. This was just an experiment... Hope you like tho :-)
  3. A composition of mine for flute and guitar (in finale instead of the guitar you hear a harp, imagine a guitar 🙂). Hope you like it.
  4. Today I was experimenting and some kind of piece came out. It's based on a part of a part of the first prayer of St. Gregory of Narek: 'The voice of a sighing heart, it sobs and mournful cries I offer up to you, O Seer of Secrets placing the fruits of my wavering mind as a savory sacrifice on the fire of my grieving soul to be deliverd to you in the censer of my will.' http://www.stgregoryofnarek.am/book.php?parent_id=2&type=2&type_1=none
  5. Nice piece... One little remark: what is the dynamic in the left hand in the first bar?
  6. Thank you for this pleasant piece in the morning sun while drinking my coffee 🙂. One of the main pillars of composition is variation. This is learned by practice. So you have a motive over the bass ostinato. Do you know more ways to make variations on the motive? Think what you can do and try how it sounds! Try different things, as many as possible, and choose what you feel are the best.
  7. https://youtu.be/gvADJSagvADJSaeB3I Here I put all the movements in one vid.
  8. You find the score here: https://drive.google.com/file/d/0B41ecwRgLVAAN0o4TGpRWjJtNUFGeUFuVDhMSUVHV0NoMnZz/view?usp=drivesdk Movement 1: Movement 2: Movement 3: Movement 4: Movement 5:
  9. Here you can find a performance: https://youtu.be/bYOygL7FOTo This is the score: https://drive.google.com/file/d/0B41ecwRgLVAAMVJrZDJ6TURLeXhlLVZDQTh5Nk4zcUt5NGJJ/view?usp=drivesdk I like to hear what ye all think!
  10. Really nice, energetic and virtuosic at times, also lyrical. Have you ever composed a very slow piece, without virtuostic passages? I love you energetic and virtuosic parts, don't get be wrong, but to be creative in another way is always good for a composer. I noticed in another composition you posted you played also had virtuoso parts (east winds, great listening too!)
  11. Very nice. The first one really felt as a 'world-in-itself', it felt to be longer then one minute (that's really positive! It wasn't boring at all!)
  12. Thank you both for your comments! You're right Ken320 I'm stretching too much. Great idea about punctuation as fuel.
  13. Quite lovely! A trailer for a action or fantasy film? Something with a quest. 🙂
  14. Wonderful!! Be proud! Do know it's hard for the guitarist to be dynamically in balance with the piano.
  15. Yesterday and today I made a little musical joke called 'MIJN ellende'. Don't take it too serious :-) The melody is based on my own name, Jean Langlais made a system in wich you can interpret the letters of your name to notes. I also used a rhythm based on my the syllables name. My arrogance!! It's pretty dramatic and sentimental. Therefore I used some subtitles. In English they are: Bar 1 Misery on the day I was born Bar 11 Misery on the day of my first step Bar 21 Misery on the day of the start of my relationship Bar 26 Misery on the day of my marriage Bar 31 Oh! Miserable existence! I love you! Because misery is a consistent element throughout the piece its all the time more or less the same melody and rhythm. Do you think that works out good? (It's my name although it's not autobiographical in case you wondered)
  16. I don't like Alban Bergs violin concerto... The beginning I find ugly and boring. Just a bad start to begin a violin concerto. Berg never did it for me, none of his works. The strange thing is: I do like avant-garde music. I'm more of a Webern person. I'm neither a great fan of Berio. I should, I know... I like Nono more.
  17. You made me desire a big fat cigar... I like it. The line of the melody wasn't clear to me directly. But after hearing trice this isn't a problem for me anymore. The last chord came as a little surprise. 🙂
  18. Hi all, I try to add the PDF afterwards, it needs to be clean first. And I have it rather performed first... But here is the third part of 'And the ear brought forth'. Hope you like it and let me know. The principle of harmonic shifts is very simple but I think, in it's minimality, it works fine. Any advise is welcome!
  19. What a beauty! This lightens up my mood!
  20. I loved it! Why can't it last an hour? I would like to immerse mysel for a long time in this soundworld.
  21. Now I'm here in the process... Let me know what you think.
  22. First of all I like your material! Lovely feeling... I noticed you have a couple of different elements wich you pose after eachother, pretty much hard-cut. I didn't hear much connection between them. This is not a problem however, yet. I think there are two ways to make a overall overall composition out of it. 1.You make a composition about 'hardcuts' andere constant adding new elements. It Will create a nice 'shockeffect' and a quite ironic one because the themes are lovely andere 'Disneylike'. This is a kind of conceptual unity. In this case you don't have to write a composition that's last very long wich is a good thing of you are a beginner (I don't know where you stand as a composer) 2. Troughout the piece you will develop all the material you posed, combining, dissecting, developing. You should think about the question how long this piece will become after what you already wrote. Where does this lead to in minutes? Myself I think of at least 15 minutes. There are so many ideas already... So then the next step is: hoe do you want to develop the material?
  23. I quite like the piece as a beginning of something larger. One of the possibilities is to 1. Add more layers 2. To turn layers on and off. I felt the drums were to much on the foreground, I know tho it can be a thing in a lot of styles. I quite like the twisted way you use the drumgroove. I don't have the problem Monarcheon has as long its a consistent element throughout the whole piece. Find ways to play with this element and you create your own soundworld. I think your in the right track!
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