C. Ryan

ponfrahal, did you copy and paste Scriabin's comment? :P Thanks again guys, Chris

Thanks guys! Norby, much appreciated. Honestly, I'm not all that familiar with EWQLSO, but I'll definitely check it out. -Chris

Thanks guys --- yes, GPO has the potential to be amazing. It's all about blending, and creating layers of sound. I'm glad you enjoyed!

Thanks everyone!! Scriabin, glad you listened to "With Glory in Their Eyes." I'm sure you could find many structural similarities between the two pieces. As for the nee-naw sounds (two flutes), they were intended to be light and beautiful so that they almost weave in and out of each other; however, I will admit that they did come out a bit calculated in the recording.

Hey guys, Just finished a full orchestral piece intended to depict a romance culminating in a beautiful meadow---let me know what you think! Thanks, Chris :)

Thanks guys! I'll definitely try to improve my craft... and yes, it's true: you see everything you're doing wrong the first time you see yourself conduct on film. :) Chris

Ah, thank you! Well, it's very programmatic as I get most of my inspiration from film scores. I have every intention of letting everyone have their own interpretation of this piece, but it was was founded on the idea of coming home from war; a glimmer of hope despite devestation. It has a mix of tragedy and triumph but they sort of coexist throughout the whole thing. Here's an old poem from which the title was derived:

Thanks Marius! I do understand there are no REAL rules of music, but I unfortunately find that too many people in this world see parallel fifths in a piece and then immediately get a sour taste in their mouth! But thank you, I'm glad you enjoyed it... and yes, the opportunity to conduct this was amazing. There's nothing better than having some of your best friends perform your own piece, because they care about it just as much as you do. Thanks again!

Hey guys, I finally finished my first work, and I was fortunate enough to have an amazing orchestra teacher who allowed me to perform it with my high school symphony. I tend not to follow the "rules" of music so I hope you classical guys can still listen to this openmindedly. Let me know what you think... I know my conducting isn't the best, it's my first time. But any comments on orchestration, etc are more than welcome! I'm majoring in film and television (not music) next year so if I continue with this it will probably be somewhere down that path. Chris Ryan sidenote: sorry, I can't upload the score just yet

Hey, This is an excellent rendering; strings, particularly from 33 - 52 seconds sounds awesome... well done. Chris

Hi guys, I'm in the middle of writing my first symphonic piece, and I'm just curious what techniques you employ to create momentum in a piece without employing simply percussion. The main composer I have in mind is Michael Kamen; lots of his work as a driving pulse to it, but the only really distinct technique of his I know is using arpeggiated figures in the strings. Check out Band of Brothers Suite 2 on iTunes, you'll see what I mean. So, if you're writing music (NOT for an action scene) and you want people to tap their feet to it and say OH THAT'S COOL, what are some of my options? ;) Chris

Hey guys, Thanks for the advice. I've been working on this motif for a while and it's just not working for me... I think I got so involved in this one idea what my mind became closed to all other possibilities. I decided to (temporarily) ditch this project and miraculously, a new MELODY (not motif) popped into my head so I'm now working on that. Alex, your advice was very helpful---I'll keep it in mind. Chris

Hey guys, I'm in the need of major advice. I can improv for hours on piano, I come up with melodies, and I think I'm a fair enough orchestrator. My problem is that I don't know what makes a... "piece." I feel like there's some grand rule I'm not getting. Does anyone have any advice for a newbie who knows how to go but not where to go? Here's just an example of short theme of mine I like, but I have NO idea how I would format a piece around it. A sections, B sections, codas... I'm clueless. epicwestern.WAV Thanks, and ANY advice will be GREATLY appreciated. :toothygrin: Chris

Thanks Jared! So is that the Garriton that comes with Finale? I'm buying Finale 07 in a week or so so I'm very curious. Well done, again!

I'm in love with this. At 2:33, it builds, and I think if you brought that part back for the end and then let it slow and fade on that resolution at 2:41 it would be even better. Bravo! I really need to know how you made this actual mp3... I'd be really interested to know. It's very performance-like. Chris

Hey, It sounds like a piece that would be played during a scene in which two characters are reunited... I'd say that it would be properly titled long these lines. Chris

Guys, Thanks for your constructive comments and such; I've just finished getting the piece down in Finale and it's a measure past 15 pages. Just to clear things up, this is not improv. I "wrote" this whole piece in my mind therefore everytime I play it, it's exactly the same. After reading your opinions, I've altered the "so-so" sections. At from 3:10 to 3:17, I now have a MASSIVE crescendo that suddenly drops to piano as the new theme comes in at 3:17. Also, from 3:17 to 3:42, the tempo is quicker despite the quite nature of the section. Nick(toven), I actually came up with that climactic section (3:43) first and then decided to create a whole piece around it. You'll notice that the beginning of the piece is, well, "up in the air." Exactly how it should be. Then, it slowly resolves in to the main arpeggiated theme which finally gets somewhere at 3:43. The point of this piece is to represent some sort of "unpredictable revelation." Derek, thanks. The echoey figures are a toughie... it's all about timing on the pedals (sustain and damper) as well as the hand "rolling" in the upper sextuplets. Drakken, I guess I have been influenced in some ways... "Kaleidoscope of Mathematics" is excellent. Chris

Guys, Question: If I sit down at my piano, hit "Record," and completely improv a 5 minute or so piece, then submit it as a simple MP3 with no notation, will that qualify? Chris

Cavatina, Thanks for your remarks, I highly appreciate them. The transition at 1:20... yes, that was VERY rough. My friend was trying to adjust the mic and cut the sound for about half a second. I'm off to Ireland in two days and I hope to play piano a lot there while I'm there. After more than a few days with the piano I start to go crazy. Wait, do they HAVE piano's in Ireland?!? :P Chris

xyc, Ah, I was wondering if anyone on these forums was ever in the same boat I'm in. I still find myself using "relativity" to decipher music that isn't able to be learned by ear for one reason or another. Oddly enough, I can read cello pieces very well. However, I do not do it by the "names" of the notes. I simply see the note and know where my fingers go. Thus, being able to play cello doesn't quite help my reading either. Considering that we've both had similiar experiences, I'm curious as to what you think of my above piece and if it is similiar to something an ear-player such as your previous-self would compose. Thanks again, Chris

Hey, YOU ROCK. No, but really. You do. Excellently produced, and judging by the "visual compliment," I can say that you've nailed it. You're brilliant use of woodwinds and percussion reminds me so much of James Newton Howard's "The Village" score. I'm curious by the process you used to write and perform this piece for recording, because, quite frankly, you have the job I want. :D I see Hollywood motion pictures in your future. You know that a score is great when it's got a life of its own. Chris

Here's what I would do... Sit at the piano, completely compose your piece, memorize the whole thing, perfect it. THEN, notate exactly what you've been playing after you've completed it on the piano. Chris

Lee, Thank you very much for your response. After reading what you wrote, I can tell that music truly can speak. Much of what you inferred regarding how I approach music is indeed true. After reading your questions, I figured that I'd answer them one by one as they are all valid. What are you hoping to accomplish in music? Honestly, my 'dream job' would be to commercially compose, as you mentioned, for motion pictures. You can take a mood or theme you want to convey and expand and expand on it. Right now in my life, I'm confused as to whether to pursue a musical career or to go into aviation, my other "dream." I'd love them both. Alright, onto number two, which will help to explain my past and present frusteration in learning to read. Is there some reason why you have chosen not to take any musical education, or were you not able to take any? I have been taking piano lessons from the age of seven. That's eight completed years of study. I've done all the scales and arpeggios at 72 in 16ths, and I've gone through my share of music books. And yet, I struggle to this day with reading. Earlier this year, I told my instructor that I felt as if I was trying to read two separate lines of English writing at the same time (in reference to the grand staff). And, that is exactly how I feel. When given a piece, I have to figure out measure by measure, and then I just memorize it after playing it once. My ear may in fact be what is keeping me from advancing in my ability to read. Either way, I'm continuing with my education and I hope something will "click" in my mind that opens my eyes to music, not just my ears. Is

Smallz, If you're not already familiar with this composer, I think you'll really enjoy the work of Michael Giacchino. http://www.michaelgiacchino.com/ Chris

Hey, In the first "March" piece, you've got the right mood going. My one suggestion would be to have more durastic 'rises and falls...' and veer away from the repetitive drum beat in the background for some measures and temporarily change the feel of the whole piece. Still, it's great! I'm picky in what I like and the beginning of "The Platform" is excellent. Judging by the stuff you are composing I can already tell that we have similiar (musical) interests. Celtic is very creative... the abrupt change from the first section to the quiter "middle" section is great in my opinion. Keep up the great work! Chris