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Jean Szulc

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Everything posted by Jean Szulc

  1. Different forms might yield different expressive results. It is impossible to respond what to do when we can't se what you have composed, nor what you want to achieve with it. What matters is that you look/listen to what you have written, and decide what should produce the result that pleases you better. After all, you're the composer and you're the one to call the shots. I just hope that whatever you decide fits whatever purpose you have in mind.
  2. I got quite late in this thread, and I haven't been able to read all the previous stuff, so pardon me if I say something misplaced in the conversation. I've also seen that this discussion has acumulated a bit of heat, and I want to make it clear that my intention is not to be aggressive in any way. All I want is to add to the conversation however I can. The academy is made of people, of composers, not simply from academics in a strict sense. Academics themselves are multi-faceted people, who many times got into the academy to make a living and learn whatever they can to serve their compositional purposes. Therefore, the argument of academics pushing their "rules" down the composer's throat is simply not true. The new tendencies were created to seek for new expressive possibilities, and not to simply "create abstract art". Yes, one could argue that the means through which those new tendencies were produced create too abstract of an art, unpercievable to the average listener, but one way or another the main intention was always to create something relevant. And btw, isn't creating "art for art's sake" way more abstract than creating what you call "academic-pushed music"? One could also argue that making this kind of "academic music" is creating "art for art's purpose", as you don't have to base it on the world's perception over it. In my opinion, if you want people to express themselves, considering all the possible meanings one can atribute to that, then stop calling different musical expressions as "academic". This is an extremely limiting conception, as you can simply dismiss as being "academic" whatever you can't find the musical expression in. If one needed to absorb a huge amount of academic knowledge to write music of their liking, than be it.
  3. Hello @Markus Boyd! Thank you a lot for listening and for your feedback. I'll complete a year of composition in couple of months. I had notated some stuff before, but never finished anything more than a mere exercise.
  4. You can do both at the same time as well, construct the melody and the harmony together. This all takes trying and work, so either way you'll have to go back and forth until everything works properly.
  5. @aMusicComposer Thank you very much for your kind words! Definately true, but I actually quite like this timbre that the oboe produces in the low register. Poulenc has displayed some good uses of it, so I hope I'll be safe with this one 🙂 That was some good two weeks of my life trying to replicate water sounds (lots of Jeux d'Eau and Une Barque sur l'Ocean involved), so I'm glad it was evocative to you! Not too much of a bend, I just want the player to "get into the note from beneath" (I know, this could definately sound better). Thank you for pointing it out to me, I still don't know much about bends on the oboe so I'll have to consult an oboist sooner or later. Once again, thank you a lot for spending time to give me this thorough feedback, I really appreciate it 🙂
  6. Really cool stuff man. I like how the bass line starts without letting too much of the harmony to show through and then is filled by the other instruments later. The interlude is also awesome. The microtonal (or perhaps simply out of tune) instruments give a nice atmosphere to the whole thing. Great job
  7. Thank you a lot, @Luis Hernández!
  8. Hey Juan, nice composition! I especially like the coda, I think it's the strongest point in the piece. On the context you're writing, I don't know if this is useful advice, but I think that something you could improve on this are the transitions. You have sections that start and end in a "vertical line", which doesn't necessarily make up for a smooth transition. Although this is common in the classical period, a bit less so in the early romantic period but still very present, you could perhaps do more to "disguise" the transition between different sections. There are just so many options when it comes to that, I'm sure you can find interesting ways of blurring the lines in the form of the piece in a way that you like, in case you think it's necessary. Best wishes.
  9. Dear Tracey, would include any more details about the project? It is hard to get excited about a project we have no details on whatsoever.
  10. You won't need to spend all that much. Sample libraries usually take quite a bit of time to load in almost every computer, as you have noted, so what really changes is the capacity of the pc to render the audio without losing quality, glitching, or god forbid me, crashing. Now, it will all depend on the music you compose as well. If you write a 200 track orchestral track with a tutti every 20 seconds, then yes, you will probably need a monster of a computer. However, my pc is from 2015, has an Intel Core I7 3.60GHz, 16gb of RAM, with a pretty decent graphics card, and I've never had a problem with it. Recently I'm only using NotePerformer, so I haven't needed that much processing power anyways. Now, if you have the option, I'd recommend getting a desktop, as you can get a whole lot more procecssing power for a lot less money. I don't know if you have a preferencec over Mac or pc, but I'm a huge fan of Dell. Building your own pc also has huge advantages, succh as a lowered price. At the end of the day, you just have to find the best deal for what you want to do, which simply takes looking at your options/budget and picking whaat seems to have the biggest value/money.
  11. @Thatguy v2.0 Thank you a lot for your kind words, my friend! I like hearing this, makes me feel like a jedi lol I didn't know about Silvestre Revueltas, so I'll take a look into him in a bit. Thank you for your recommendation. As we're in this subject, please give Camargo Guarnieri a listen. He's way too good to be mostly unknown nowadays. I'd recommend listening to his Ponteios, and his piano concertos (the 5th one, to be more specific). It's simply a fantastic influence, I hope you enjoy it 🙂
  12. This turned out to be a lot more than what I had initially expected. The initial atmosphere, with various "disconected" elements (of course not disconected, but with various overlapping elements) led me to believe that the piece would explore only that soundscape. As it progressed, the apparently unpretending happenings melded into one moving unit. It was quite amazing to see it all hapenning right before my eyes... or ears, idk. Great job
  13. Hello, @Morgri! Thank you a lot for listening and for your feedback! I really appreciate it. I wrote this based on a few passages by Poulenc (just as most of the piece, really), and I was hoping to get an "almost cracking, ethereal" sound. Poulenc did this in a few moments, and depending on the oboist it sounds amazing. It was a shot in the dark most of all, but we will only know after an actual performance. I usually add dinamic markings for every voice on the piano just to make sure I get the right interpretation at the end. When the interpretation is less critical, I leave it to the player. Perhaps not necessary, but it makes me think of how exactly I want it to be played, and it won't hurt the interpreter.
  14. Very lyrical. You never allow the energy you build go to waste, it's always dissipated the optimum moment, in the best way possible.The climax seems to go on and on, and it doesn't leave any room for boredom. Everything flows, there is no element that has to be added, nor taken away. Great job.
  15. @Eickso @PBStu Thank you both very much for listening, it means a lot to me 🙂 comments like this keep me writing. It did lead to a big moment, but I felt like ll the sections build up to a climax, and then descend into the next part. I was hoping I could subvert this scheme a bit, by not allowing the last section to grow too much. Perhaps I was wrong 🙂 Thank you a lot for your feedback!
  16. I guess I'm a bit late to the discussion, but here it goes. This is a sort of argument that although it sounds nice and romantic, it's just so flawed that it's barely usable, especialy when it comes to "older" styles, that already have it's boundaries well-set. Using this sort of argument to deflect criticism just shows that you don't percieve the boundaries of your own works as much as you should. It's simply not as good as Beethoven, and if people are giving you advice, it's not because they don't percieve your genious, but because your works are still student-like. This fits my own current situation aswell, but I concious of it, and I know that I can learn a lot more from what people tell me about my works, than by holding dear to whatever justification you construct. If it is great justification, then hopefully people will recognize it, but if it's not good enough to justify the aural results of your music, then simply accept it, improve it the next time you compose! This is a very strong point, if it's even necessary to prove that different keys do not haave different characteristics. I, for one, have written most of what I composed centered in C, major or minor, modal or tonal. It's just easier to think, unless using this key implies using uncomfortable registers/fingerings in whatever instrumentation. Almost literally every "feeling" I have written (which i hope have been a few) was produced by the same key. Whenever I use other keys, It's usually after modulating from C, because I want the sound of moving into a different direction, and not some sort of inherent, abstract sound that what I, with no strong argument in my favor, believe to represent something.
  17. I guess the fact that you're asking for help with your music, but not showing anything of what you actually composed but some schemes you made, sums up the situation. This is very present in most of your pieces, you come up with some thorough explanations for every note you put on the page, but sometimes leave the "emotional" aspect of music composition to the side. Yes, you have an expressive goal with most your pieces, but you always seem to approach them as in a "let's see what reminds me of that in other people's music", followed by "I'll stirr all of that" fashion, if it makes any sense. It's not because you've identified those characteristics in other pieces that they will be of any use for you. As cliché as it might sound, try creating your own storm, without seeking into people's music for the tickboxes you have to fill.
  18. Hey! To be honest, I don't know if you should be pulling too much of your hair on this matter. To write in an older style is definately not a problem, and although some people will complain that what you are writing is "irrelevant", the same will happen on the other sound of the spectrum. Lot's of people will call more modern pieces just plain "noise", and at the end of the day it shouldn't really matter what other people say (pardon me for the cliche, but I just see it as a strategic approach). If you think your style will not be appreciated if you don't venture into newer refferences, just take a look at Alma Deutscher's youtube comments. It is just plain classic/romantic devotion. I guess the problem of composing in an older style lies in the fact that so that your "older" music get's picked up by people who appreciate this style, you must be REALLY good. If the Jupiter Symphony was written today, perhaps it would call quite a bit of attention to the composer, but fact is you would first need to be able to compose something as such to gather that much attention. The opposite is also true. To cut through the noise of a lot of more modern music, you would have to write either extremely well-written 20th century music, or you'd have to write something very inovative, which isn't easy either. I guess the only way forward is the one that calls your attention, the one that actually inspires you to compose something. Best of luck, Jean.
  19. It just blows my mind how well you soaked up the late-romantic style, added some of your other influences to it, and created something so appropriate to different styles of the past, while being so relevant today. Seriously, amazing job.
  20. The melody reminds me so much of La La Land's "Mia and Sebastian's Theme". You can listen to it at 00:08:08 As for the piece itself, it is a straight forward well-written piano piece. Congratulations on that!
  21. This piece shows real improvement! The ideas are much more clearly presented, and are really pleasing to listen to. It all just adds up to a sweet-sounding little piece. I guess writing a piece for a small formation was really fruitfull for you, and if you want to go back into writing pieces for orchestra I would recommend slowly building up to small ensembles, than finally getting to a full-blown symphony orchestra or symphonic band. Perhaps this style in which you composed would benefit from not having chords such as the on on 4th M, 6th M, and so on. Perhaps you could add a different accompaniment figure in those moments, something like a small tremolo. It would make the whole thing sound a bit smoother, making so that when you do use chords like that, you would have a much more relevant-sounding cadence. This is just feedback, though, so it's just a matter of opinion.
  22. Whoa, thank you so much for your compliment, @TheCluelessClariney! I'm gonna sleep smiling today 🙂 I'm really glad this had any influence on you
  23. I had been thinking we could set up some sort of small "label", or something that would give our pieces of music a life of their own besides here in the forum. Perhaps we could get some institutions (universities, etc.) to back this up and se if we can create a small net of composers, one that spams beyond the forum, and that can create a few oportunities career-wise.
  24. Hello everyone! I've been away from the forum for a couple of weeks, we all know times have been crazy... However, I had finished my Sextet for Winds and Piano some time ago, and wanted to share it here. As always, feedback is extremely appreciated. Thank you for listening 🙂
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