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Tortualex

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Everything posted by Tortualex

  1. I started composing this almost 6 months ago, but I didn't finished ,until now because I run "Dry" of ideas. I used an harmonic ostinato by circle of fifths that repeats during all the piece. I haven't decided the dynamics very well, and don't sure where to add some more slurs. First time composing for string quintet, and for strings in general, hope there are no parts impossible to play. I add 2 audios, one with strings sounds and other with just piano, because some details are hardly noticeable because of the sound I used and my poor mixing. Any feedback is apreciated :3
  2. I'm going to answer while I listen. Is the bass in the A section of the A section(bars 1-8 and 23-30) too dense? Well, that depends on who is listening, for some people it could hide the melody a bit and make it lose some protagonism and focus. In the consequent phrase(bars 5-8), is the bass too close to the melody? Should I bring it down an octave? I'm just asking here because I noticed the bass and melody come close enough to form chords in my consequent phrase. No, it is okay, a third of distance is still a secure interval, and you have more than a third of distance, many composers do that, one of them who does it a lot is mozart, also if you down it an octave it will create a very large skip that would be incomfortable to play In the B section of the A section(bars 9-22), am I handling my chromaticism correctly or not? Most of the time, chromatism is used to created, secondary dominants and passing notes on the melody, feels a little odd because it doesn't add to much to the harmony more than a mere ornament. Is it too much of me to expect a pianist to play a polonaise rhythm in octaves for the whole B section of the A section? Well I have do that for a whole piece xddd, for a intermediate pianist shouldn't be a problem Do I smoothly transition into the inversion(left hand becomes right hand kind of inversion) or not? I haven't noticed until I read that xd, in your B section is a little obvious but that's because of the octaves, if you want to hide it a little just make it a single melodic line, to conserve the caracter. Is my A section too repetitive with 2 periods and a motive sandwiched between the 2 periods and the repeat sign? A little, more variety in the motives would help, it sounds like the melody is just repeating the bass Is 30 bars enough for the A section of a piece that I expect to be 200 or so bars long, or should I extend my A section further? if you want to make it 200 bars long 30 measure aren't enough, unless you make yor other sections of 60 measures or so, I don't know which form are you going to use.
  3. The first 5 measures, sound a little, too "harsh" to be a nocturne, but I think that's because of the soundfont you used. Try to consider adding some pedal on those measures. I like your use of irregular groupings and odd metrics, that makes it sound pretty modern but at the same time very classical. The end is misterious, to me it sounds like it should continue, i think it's because you made the bass stop with the last chord, but the melody still keept going.
  4. Well, I know the article is redundant, but you just make your criticize as if you were making fun.
  5. In the first 15 seconds I can't stop hearing "oh fortuna by carl orff", is just like the main motive but incomplete. Feels like ambient music, some that would be in the background of a emotive scene.
  6. 1st one is too hapy to be called mental suicide, sounds like something that would be played on a church. If I had to choose one, I would go for the second ( I don't want to think)
  7. So, I was in youtube an then a video pop up, it was called "blues scale", and I inmediatly fell in love with that scale. So I wanted to compose something with a bluesy fell. Did I got it?. It is no finished, this 10 measures were composed in around 10 minutes. Any comments are apreciated.
  8. The plagal "cadence" is best understood as a post-cadencial process, it is often used to confirm a tonic that has been already clarified by another strong cadence, like a perfect cadence of V i. So, a plagal cadence never will sound as convincing as a authentic cadence, or autenthic perfect cadence. Try to emphasize the Tonic of the IV going to the Third of the I, since it functions as a weaker leading tone. The plagal cadence has a softer sound that the PAC, but if you want to make it more convincing you could add the augmented 4th, but, there not be point of using the PC if you do that.
  9. Is fun how you just started you comment in spanish and then all is in english xd. Yes, I know there could be some variation, but in that time I was just strugling to get a good sounding piece xd, If compose a waltz again I'll take in coun that. Thanks for your comment :3.
  10. Well, this was my very first composition, I composed this when I was 14 and about to turn 15, I called this "waltz of the 13 days" or "vals de los 13 dias" in spanish, because I composed this in 13 days. When I first started hearing "classical" music, I liked a lo beethoven's sonata no.14, since it is in C# minor, it became my very favorite key since then, and also that's why my first composition is in such a "difficult key". In this composition I used the same harmonic scheme that pachelbel's canon in D major (I, V, VIm, IIIm,IV, I,) but transposed to C# minor. and adding a dominant before the tonic to avoid that plagal cadence (Im, V, bVI, bIII,IVm, V, Im) you'll see some asymmetric phrasing, constant modulations and a lot of sequencing in this composition. any comments are apreciated :3 , would be good if everyone post they very first composition.
  11. actually you are right, you can write polymeter using irregular time signatures like, 5/8, 5/4. 7/8, 8/8, 9/8, 11/16, and even some compound time signatures like 3+3+2/8 which is very common in a lot of dances.
  12. 1.Yes, sounds a little epic, reminds me a soundstrack that would be in an adventure movie. 2.Well it make me feel a little curious about the history behind. 3.Yes, sounds a little amateur in the first seconds, because the structure lacks of any buildup it just goes to his maximum point in no time, just a timpani rol as a build up, for ME isn't enough, so it makes it lose some momentum. 4. I actually did like 3 times xd. 5. Totally that's what I just imagine with this, adventure, mistery and that kind of things xd. Also I had to answer, what DAW do you use? and which plugins? they sounds really good.
  13. Doesn't feel like polymeter for me, because the bass and the melody together play all the 4 beats of a 4/4. Just the 3rd beat accent is syncopated in almost all the melody, but it plays in the bass so, there is not any problem. but also, those rythms aren't common in a 4/4, so maybe it should be written as a 8/8. The melody would be a 6+2 most of the time and the bass a 2+2+4 which would be a irregular time signature which isn't ternary and isnt binary.
  14. It is synthesia, It's a very popular midi player which is used to make "tutorials" for people who can't read music.
  15. In some parts I just followed the bass, in this piece I used a chromatic bass. in measure 16 you are right, I forgot the dotter crotchet rest.
  16. Thanks for your comment :3, Maybe I'll developt this a little further some day.
  17. Well I liked it, I'm pretty bad at multiple instrument writting so I don't think I could say anything of help. I will just give you a like :3
  18. You mean this? https://www.youtube.com/watch?v=qI6jZ8muDtU Maybe is because of the triplet motive.
  19. Tortualex

    Etude

    Very interesting idea, is like the same concept from trance music but in a smaller scale. Would be interesting to make a full piece out of this.
  20. Oh thanks :3, well actually this is like attemp 1.3 because I have recomposed this 2 times. And about the chords, like I said, the analysis was very rough so I did not write inversions at all. By C3 I mean a C with just the major third.
  21. I liked a lot the build up that starts in measure 10. Measure 13 to 15 seems a bit out of place, at least for me the harmony and rythms sounds very wierd. The entrance of new material keeps it fresh. Good work :3.
  22. So, I have finished my first minuet and trio for solo piano. Hope you like it :3. I added an harmonic analysis (very roughly). Any comments are apreciated :3. Almost all the minuet is based on this motive.
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