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Tónskáld

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Everything posted by Tónskáld

  1. Outdated, schmoutdated! It's quite astounding, really, to think that composers of the mid-to-late 20th century declared that the milenniae of music before them was outmoded and primeval. Like with most postmodern movements, their school of thought conflicted with what we consider to be 'natural'—in this case, the tonal intervals perceived by the human ear. Twelve-tone music, serialism, atonality, whatever you want to call it—it's an interesting (and sometimes useful) construct, but it greatly diminishes the beauty of music, in my opinon. Rather than flow with my soul, it goes against its grain. I'm not saying it's bad music, I'm just saying it's not beautiful. To me. But, like you said, each to their own. I'm glad to see there are still composers out there who create music "the old-fashioned way."
  2. I remember listening to this gem on Soundcloud, Mark! Your command of the various timbres of the orchestra is nothing short of masterful. A breath of fresh air amid the cold, analytical serialist pieces of most modern composers. Great job! I look forward to hearing more of your work!
  3. Cool! Yeah, I printed out La Primavera and played the accompaniment on the piano to see how it felt. Some of the notes from bars 8-13 just aren't playable. I would suggest getting rid of those middle E's and adding some harmonies a sixth below the top notes. I've attached a PDF that might be useful—just added a little spice to the left hand and shortened the intervals in the right hand. The trick is figuring out what chord Vivaldi was writing and adding in those notes when needed. True, it may not be an exact representation of the orchestration, but where's the fun in copying and pasting? 😉 Seriously though, there is an art to this, so have fun with it! Hope this helps!
  4. This... was phenomenal! Very Holst-like in its harmonies and rhythms, but I definitely heard the schoolyard playfulness there. Superb job!!!
  5. @OscarDude15: Sorry, I thought I already responded to this piece somehow! The differing voices keep the piece so alive, it's quite refreshing to hear. You're very talented at thematic development, and the repeats only serve to cement the melody in my heart and soul—they do not seem boring or repetitive. I'm reminded quite a bit of Chopin here again, with a touch of the late Romantics. In the words of Lloyd Christmas: "I like it a lot."
  6. My vote is for the Behringer, simply because I've heard good things about it. I haven't heard of the Samson Meteor—not saying it's a bad microphone, just don't know much about it. But... I'm a composer, not a recording artist, so take all of this with several grains of salt!
  7. I applaud your efforts thus far! Arranging is fun, but it's also hard work, as I'm sure you've figured out by now. While I think following a general template is a good idea, it's also a good idea to bear in mind that the piano has a much different timbre than the string instruments. Some of the accompaniment passages, especially in the first movement of La Primavera, have too wide an interval for a pianist to play. There are other places where the piano plays simple whole or half notes—which on a cello/viola sound fine, but when played by piano quickly peter out, no matter how much pedal you use. And lastly, don't forget that in Vivaldi's day the continuo played figured bass (a kind of guided improv) so that the bass passages weren't so shallow and devoid of sound. You might have to sacrifice strict transliteration for more playable notes in the chord structure of a particular passage. These are just some bits of advice I have. I think arranging a piece is one of the best ways to understand a composer better, so I hope you keep it up!
  8. I loved the exposition on the different modes, and the complex, unconventional time signatures! Unique pieces are the coolest, and each of these is definitely unique! 1. Aeolian (Winds): The hands in different time signatures reminded me of competing winds. Very complex. 2. The Hummingbird's Phrygian Flight: Nice play on words! I also liked the complexity, but I wonder if it wouldn't be easier to read if the middle staff were combined with the first as a second voice...? 3. Quick Diminished Changes: I really liked this one, especially the syncopated rhythmic feel. 4. Can we be friends: I think this one is in C Dorian... one of my favorite modes anyway, so I liked this piece, too! 5. Longing Worlds: This one left my head spinning, which I hope was the intended effect! 6. Gemini II: This one was my favorite—partly because I'm not a huge fan of complex time signatures, and this one stayed 4/4 throughout—and partly because the harmonies were so rich and vibrant. Overall, great job, @Luis Hernández!
  9. I prefer the non-tied notation. I'm not a harpist, so I can't speak to your second question.
  10. Thanks, @Luis Hernández! I really, really appreciate the feedback! These were inspired (mostly indirectly) by Bach and Debussy, although the style is my own. I tend to use a lot of augmented 4ths/5ths and chromatic modulations that give the music a certain edge... kind of keeps the listener on the edge of his seat. I do try to keep the music balanced between heart and head, so I'm grateful for your kind words. I also love taking old techniques and modernizing them... glad you liked these pieces!
  11. I love it! Very nicely done! So much movement, so much emotion, so much power... and the scoring is done well, too. Be proud of this one!
  12. Beautiful melody—nice job! I think the pedal markings are on the wrong stave in the score... I've only ever seen them beneath the lower piano staff. Again, great job!
  13. Bach: thematic modulations, counterpoint, voice leading—he was the first composer I seriously tried to emulate, kind of the foundation of my music now. His influence isn't entirely visible, but everything else is built on it. Debussy: rhythmic structures, unconventional modulations, iconoclastic approach to traditional classical music—I don't love everything of Debussy, and I'm not the extent of iconoclast he was, but I do appreciate what he did for music, especially piano. Sibelius: orchestration techniques, thematic development, use of modes, imagery, minimalism—they say we write what we like; I like the Scandinavian composers in general, and Sibelius in particular. I feel like he strips the orchestration down to the bare minimum so that every note counts. It's a purer form of music than the music of composers from other geographic areas IMO, and that's what I try to emulate. Aside from those "Big 3" I can't really pinpoint other influences. You're welcome to give my music a listen and let me know what influences you hear. The more I compose, the less I'm able to hear others' influences in my music. I don't know if that's because it's true or because my ear is just growing too familiar with my own music!
  14. Impressive work! I like that you're not daunted by the key of D-flat—one of my personal favorites! There were a lot of powerful moments in the piece that swept me up and away (just like water). I was also able to follow along with you musically, although I personally would have liked more thematic development. That's not a criticism, just a personal opinion. The directions in the score were thorough and reflected what I heard, at least from what I could tell. Good job there! I suspect you're a pianist because the piano part in the score seemed very... considerate. 😂It was perfectly balanced even in the loud sections. I thought the cello part, too, seemed fun to play. The violin part had some sections way up in the troposphere that clash with the more moderately scored cello part, but on actual instruments it might turn out just fine. I was a little skeptical of listening to a piece entitled "Water" because, you know, it's such a ubiquitous term, but I was pleasantly surprised to find a piece that did a great job musically representing ol' H2O! Keep up the good work!
  15. Can you give a specific example (like maybe a music clip) of the problem you're describing? My obtuse brain isn't following. Which could mean that I'll be of zero help here.
  16. I'll eventually get this posting thing down. 😉Here are all 3 movements in an easy-to-watch YouTube video compiled by yours truly. I hope the low-quality photos don't mesmerize you too much; took them myself with an iPhone. They look great all blown up and pixellated. Anyway, happy watching! https://www.youtube.com/watch?v=gYW8K6N4FEE
  17. I swear I grew up in the wrong decade... the 70's has all my jams!
  18. Here is the full score. Happy reading! Edit: The score I originally uploaded disappeared, so I'm trying again.
  19. Thanks, @Quinn—I appreciate the kind and thoughtful comments! It's not a live performance but here's hoping it will be in the near future. 🤞 I just need to round up a virtuoso violist.
  20. Last year my mind was buzzing with musical ideas, so I sat down and composed seven preludes for piano. I called them 'Seven Preludes for Rainy Days' (Sjö fyrir-söngur fyrir rigningardegi). They're a simple collection of some expository compositions, each one quite different from the rest. 4 are in major keys, 3 are in minor. (The title and directions are in Icelandic, but there is a glossary at the end of the PDF for your reference.) I hope you enjoy listening to them!
  21. Maybe this will help: http://www.orchestralibrary.com/reftables/rang.html
  22. We meet again, SilverWolf! When it comes to bass instruments, a typical orchestra has these to choose from: bassoon, trombone, tuba, timpani, cello, and double bass. All of these read the bass clef (but the double bass sounds an octave lower than what's written). Except for the bassoon, all of these can be pretty loud and give some volume to your depths, but the trombones, tuba and timpani are really capable of making some noise. (Unfortunately, the timpani are not versatile at all, and are usually stuck playing only 4 different notes. Don't overuse them!) Most often throughout any given piece, the cellos and basses will provide the bass section. Sometimes the bassoons can join in, but they're not heard very well over the strings (there are only 2 bassoons to a dozen or more cellos and basses), so bassoons are better left for softer sections. Treble (soprano) clef instruments: piccolo, flute, oboe, english horn, clarinet, French horn, trumpet, violin Alto clef instruments: viola Tenor clef instruments: this is a rare clef, but the cellos and tenor trombones sometimes use it; the rest of the time they use the bass clef
  23. We're all inspired by different things; the trick is discovering what your inspirations are! Composing for other people (dedicating my works) is a huge source of inspiration to me, as is being out in nature. Sometimes attending a symphony orchestra will inspire me, if they're any good. As to stealing from someone else's work... sorry, that's what composers do! 😉 No matter how original you may think your melody, you've subconsciously borrowed it from somewhere. Probably not the whole thing, but certainly bits and pieces. Over time, your style will develop (hopefully) and your "sound" will become your own. In these early stages of composing, though, don't worry too much about sounding like a certain composer, or about stealing from another work. (Unless you do it on purpose—that's not cool.) Happy composing!
  24. Hi, Ruth! First off, congrats on a very moving piece! Choral works were some of my first compositions, too, and to this day, the blending of human voices is like no other sound on earth to me... I'd like to make some comments on the accompaniment, if that's okay. Basically the less notes that are on the page, the easier it becomes to sight read, and the better your piece will sound. Too many notes from the piano really tend to clutter things up. I've attached a simplified version of your intro that's more accompanist-friendly so you can get an idea of what I'm talking about. I hope this helps!
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