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Bradley Scarff

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Everything posted by Bradley Scarff

  1. Fantastic, are you writing one for each key by they way JS Bach style? either way out of all of these fugues I've listened to this one is easily my favourite. There is a moment around bar 25-28 that was truly fantastic though I cannot quite put my finger on it. looking forward to the next one 😁
  2. I am firmly of the belief one should compose what they wish. the wider audience will address whether they like it or not. there's a reason people go to concerts playing Beethoven over Schoenberg because it is more popular because it is more accessible and less academic. which is my problem with "modern art" which is there must be a reason behind everything. I couldn't care less what you write so long as you are putting should into it. people will be aware if your piece is a shameless knockoff of beethovens fith or of Mozarts string quartets. because people arnt stupid. truly great composers only come around every so often but far less in recent years that are memorable. I think people should have a right o to compose what they want and have it be performed.
  3. I believe we can change the direction. incorporating different styles into ones pieces so that everyone is individual again. each person needs to develop their own style and incorporate it into their own. It's why I've been thinking of doing a diabelli, variations-esque idea. where I submit a theme and challenge you all to write your own variations. as it would really open up how each composer is different and views their music
  4. I believe this is where most people went wild and tried to invent new styles and systems so they didn't have to compete with what had come before, giving rise to Avant Garde, 12 tone and spectralism. all of which I disagree with.
  5. As I said I couldn't remember whether it was true or not. but the effect of such a big event did change the course of composition.
  6. Of course people are able to find their own voice. and I am aware music evolves. my wish is people write what they want over what academics push for them too write in the hopes of creating abstract art rather than art for art's sake. people should have the right to express themselves rather than be choked by having to explain their position in-depth. and explain why each note was placed where it was. I was asked by a teacher why I chose C minor for the key of the first movement of my concerto. I didn't have an answer, I just chose it because it's what I felt like. there was no abstract reason. I feel people are moving away from the "traditional style" because a lot of what can be composed has been perfected by various people. this of course does affect what people write Brahms was the first person to write a symphony some 50 years after Beethovens ninth if I remember correctly (don't quote me on that)
  7. I believe that it is more important to write what you feel rather than what academically you should. composition is a very subjective skill and one should never try an bog people down because of it. they should be free to experiment and make their own choices. I feel the modern academic way of studying composition is absurd. and way to philosophical with the whole "what is music" nonsense. and in reference to Alma is that her works will mature. this is the equivalent of the young Mozart pieces. they will get better than they already are as in my opinion she is producing true music rather than academic works. it's the reason she can sell out Carnagie hall and most modernist composers cannot.
  8. I feel that the questions you are asking are at the very heart of modern classical/ contemporary music. Right out of the gate I will say I find the music of Cage Schoenberg and Webern very unmusical and more academic than actually music, though of course that is just my opinion. I also see those experiments as why composers must go to absurd lengths to justify the choices in their compositions other than "it's what they wanted to write" not they must be inspired by some obscure ancient myth about the world being an egg in some birds stomach or some nonsense like that. I do believe that this has caused music to ascend to the "elite" areas. because most "modern" composers must produce an essay to explain their work other than the fact they had a really cool idea for a symphony. One composer I am glad who does not follow this pattern who I am surprised I have not seen on here is Alma deutscher. she is very unapologetic in her writing. and just writes what she wants. I hope this paves the way for the next generation of composers to truly write pieces for the sake of beauty rather than academia.
  9. A very energetic start. it's an interesting arrangement. perhaps you could drop me the score so I can give some better analysis. my first instinct is the trumpet is too loud. either reduce it's volume or reduce how frequently it plays in my opinion. especially as it's written for harpsichord the trumpet drowns it out. perhaps instead of Horns/trumpets have the baseline that it's playing in the lower strings I feel it would mesh better. and then add more of a tutti feel to the second section. I feel you jump far too swiftly back to the A theme. overall some very nice work especially for the A theme. it is a very believable theme and very singable.
  10. Very pleasant to listen too! was almost dream like. infact I bet one could orchestrate this with little difficulty. AS mentioned above the left hand could get repetitive after a while, perhaps in the section where the melody is in thirds you could give a more waltz like feel. and maybe try a C section. and turn it into a rondo. this piece has great ideas but I feel like they aren't as developed as they could be.
  11. Very nice! the movement works really well and it's clear you have a distinct style. The only word I would suggest would maybe be have one or two flashy cadenza sequel runs towards the end. or perhaps a brief Presto section. which I feel could be done without sacrificing the content of the work. Obviously it is your piece. Look forward to hearing more music
  12. You clearly have great skill with contrapuntal writing. which I wish I possessed myself. I have never been bold enough to actually write one. However if I may give a little bit of criticism. before the second entry of the theme I feel like there should be a slight pickup in pace, perhaps a run up so the entry of the counter subject isn't so jarring. at least it was for me personally. Another point which is a very personal one is a lot of the fugue just feels too busy it's difficult to detect the individual voices and the feel of the piece towards the middle feels less contrapuntal and more just accompaniment. especially when you get to the octave B's it feels very much like the second voice is just accompanying the first rather than actually being a second voice. though perhaps this was the effect you intended. Overall very good. look forward to hearing more music
  13. Bravo very well written!. Just my personal opinion the third entry feels a bit rushed, not sure why perhaps the key was not certainly decided. however the ideas are developed well and there is good contrapuntal fluency throughout. The ending would really serve to have a tierce di picardie (basically an F sharp major chord to add extra finality. Overall very good looking forward to the next piece
  14. Very well written, sounds like something one would lazily play in the back of a salon, I will note your inspiration for the ad lib section, I feel more could be done with that. Maybe some more chromaticism and embellishments if your going for a more romantic feel. It sounds superb though so don't take my word as gospel. One serious recommendation, possible lengthen it, modulate and explore your ideas, it's a fantastic statement. you could do a lot with it.
  15. The second movement of my piano concerto, I wrote it during the lockdown and I feel like it exemplifies my mood throughout. I'm particularly pleased with the brief piu mosso section. I wanted to upload it with note performer, although I currently don't have my finances in order. so I didn't, if I get it soon I'll re-upload it. Please let me know your thoughts, and I'm working on the final movement, as I'm not short on time.!
  16. The style of the piece is a classical romantic style bridging the two eras. But ideally something I’d like to be performed and easy to digest and for a casual listener to follow.
  17. @Tortualex any Advice for the recapitulation? Im not entirely sure where to go. I'm adding a bit to the development, or do you reckon is mould leave it as it is
  18. Your first movement is very nicely constructed. It's themes work smoothly and the movement is coherent. With your second movement you build up a lot but it's resolved convincingly in my opinion. Thanks for sharing it sounds very good. and I can't wait to hear the rest of it.
  19. Fantastic waltz, Orchestration is spot on. May I ask what software you use? I would die to get my strings to sound that good
  20. The first movement of a four movement work, this piece is designed for relatively simple playing and is designed to be pleasant to listen to and enjoy. My own criticisms of it are at the moment it is too short, I am happy for any feedback available.
  21. I've been working rather hard on this piece and have a full movement of a concerto, I hope you guys enjoy and any feedback is welcome.
  22. the expositions of my piano concerto in G minor as well as the beginning of the development. any feedback welcome.
  23. Updated the concerto somewhat, added the piano and started the secondary exposition.
  24. Hey Im writig a piano Concerto and have hit writers (Composers) block. i'm not convinced with the section at the end which would be the transition to my second subject. any advice welcome. ( i Know i haven't actually put the piano in the score.)
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