Jump to content


  • Content Count

  • Joined

  • Last visited

  • Days Won


Everything posted by SYS65

  1. Thanks for your comment, strange comparison though.
  2. Hey, Well, I've been working for 2 years in a very heavy project for Choir and Orchestra, but is not ready yet 😋 so, I've been locked in my house due to the quarantine, just walking and sitting, and walk again and sit again, I haven't had much luck in my other work these past days, so yesterday just open an new file, and wrote a theme I found in piano that morning. This is the smallest orchestra I've used, also the shortest orchestral piece I own, it was only to kill the time you know... I must say is relaxing to write "normal music" from time to time, you don't have to be struggling with "thing nobody has written before".
  3. Hello, Do you think would be possible to contact Arvo Pärt ? do you have an idea how would I be able to send him a package to a physical address, or somehow be sure he will recieve it ? What for ?, is not important for you, but I assure you, I won't send him a bomb, he's such a respected wonderful composer, a living treasure.
  4. SYS65

    Who chases who

    perhaps you mean near the ending ? I did struggle a bit pasting the piece with the ending I was already written before. Thanks for your comment.
  5. SYS65

    Who chases who

    They are all to be treated as chords, large chords like in jazz, classical pianists don't usually do this but in jazz is very common to press two keys with one finger, specially the thumb, so they are actually very ergonomic if you're used to play like that. I wrote with small notes the notes can be omited in case pianist doesn't feel comfortable with that, but is intended to sound exactly how is written. I'm glad you find it good, thanks for your comment.
  6. Hey, Long time since my last activity, I guess I'll look new here, but I'm not. This is a little piece I wrote for a half joke half serious commission made to me by a percussion student in the conservatory I used to work, he just told me once "hey when you write something for marimba ?" i just said "yeah someday". This is it, is not very hard to play, he plays with two sticks only, hasn't been performed yet anyway. After finishing, while listening to it, it came to my mind a sort of Tom & Jerry behavior between the marimba and the piano, hence the title. Greetings to my old friends still around.
  7. If one takes a look to the comercial music, Rock, Pop, R&B, Soul, Disco etc, tons of different voices can be found, many are complete crap but some others are quite good, there are enough for all tastes, but in serious music is practically the same style, yes in Renaissence and Barroque is a little different, but is only like the previous version of the same thing. Today we have operas with serialism, algorithms, mathematics, electronic resourses, a lot of "new" elements but honestly they keep singing like it would be Rossini. Maybe Opera will be a difficult field to start the change, but maybe in a smaller form, like a simple Piano + Voice lied, could I imagine the piano supporting a voice like Sade, Suzanne Vega, Leigh Nash (Sixpence none de Richer) is it too crazy idea ? Each one of these kind of singers is like its own style per own, but I think it could be possible to start creating new styles and even teach certain techniques and somehow define those styles, because right now is like "Bel-Canto, and the rest", for instance I have noticed in music schools, (at least what I've seen) many people go to the school because "they like to sing" but they don't even like the "bel-canto" they have in their minds something very different, and instead of developing those talents, they drawn their voices into a world they don't even known, understand, like or even wish. Recently I've seen a couple of new ideas by composers, for instance a work "for Orchestra and Rap-Singer" perhaps I'm now the only one with this idea.
  8. Hey, I don't know you, but I, I really don't like the Bel-Canto in singers, I mean I can stand like 3 or 4 famous singers for a couple of minutes, but not the 99% of the rest of people sing like that, now, why is it that ALL Opera or Concert music has been always hopelessly tied to this technique, and remains tied in present ? So if I write an opera, or any sort of musical form is to be preformed in a concert, or just considered as part of non-comercial music, will be forced to sing like that ? There's no way to avoid that ? I understand the history of all this, but now we do have technology to use microphones or any other sort of help, I mean it's just matter of get opened to other possibilities, but nobody seems to even try, do we have to start writing vocal music asking (somehow) for an specific technique is not the Bel-Canto ? There's any hope we can turn off that vibrato please ?
  9. They did play jazz, watch 8:38, and then watch whole video if in doubts.
  10. Yes, we had that feature but it's not currently available, maybe we'll get it back soon.
  11. Thank you all for your comments, I think it will automatically sound more vivid in a real orchestra, I used the libraries into the Sibelius so I didn't program the modulation as it should, so it does sound with lack of dynamic contrast, later I might create a new recording.
  12. I would just add that the lowest C in 32'' is normally out of range, is only possible if you modify the tension of the patch and move all range 1 whole tone down, the lowest note is D. Also, not all orchestras have the 5th timpani.
  13. You and the Rain, for strings orchestra. A piece I wrote in 1 day, having a cold, being unable to go outside, waiting for my girlfriend to come to see me, while raining outside... Never have written so fast before, definitely she makes the difference.
  14. Almost all XVII, XVIII, XIX Centuries works, with some exceptions.
  15. Maybe is the harmonics glissandos in strings ? is a quite weird effect but it is sounding 100% real in recording since the library I use for strings has the sample of such effect, this in addition to the vibraphone and the rest makes the whole thing. This kind of effect: (just I didn't use the sul-pont)
  16. I live (always have) in Querétaro, Mexico, and Mexico is a country has never cared for their composers, artists, culture, not even education, so bad is this problem that I just quit my job at the local conservatory after 5 years, because there is no future at all, the institution is going down more and more and I decided not to drawn with it. Right now I must find another solution to make a living and yes, in the future I would like to see the posibility of moving to another country, but right now I think is not possible. Some day I'll take with me all my scores and show them to some people might care about it. for now I can only say I do like the results I have been having.
  17. Thank you, I will never stop composing... first they said april 21 then said they were delayed with it and still checing scores and set august 8th and it seems nothing will happen, these competitions do nothing but put me very stressed when the results day approach, since I've never had a premiere and would be such a nervous day for me. Anyway, I'm already thinking a new work with this language but more complex, larger orchestra and choir, I hope not to delay too much writing it. Thanks.
  18. Well, results date came and left and nothing at all... I guess I didn't win anything (like always) maybe Bartok was right, competitions are for horses... Thank you all for your comments, I hope to post something soon.
  19. Write all parallel 3rds or 6ths, also make rhythmics parallel, nothing of counterpoint, countermelodies or textures, just make them all speak at once, write ffff always (they'll play it like that anyway) nothing of legato, everything with accent and make fast notes very staccato, use very simple harmony and everything what is happening in this video.
  20. Hey, thank you both for your comments, I'll check those cymbals but that changes from one speakers to another.
  21. Sounds like a 70's track possibly soundtrack, something like Francis Lai or maybe early Morriconne, have you tried Shazam ?
  22. Hey, This is a Demo I made for a Music Production Course I will be giving soon, it will be a short course, just and introducion to the use of DAW, VST and libraries. We will end by re-creating this same track with the students. I made this thinking of what Epic Music usually sounds in trailers. Created with: Cubase Elements 9 Kontakt 5 Cinesamples CineBrass Cinesamples Drums of War 2 Cinesamples Deep Percussion Beds 2 Cinesamples Voxos Epic Choir Alicia Keys Acoustic Piano ProjectSAM Symphobia 2 Elite Orchestral Percussion Vienna Symphonic Library Los Angeles Scoring Strings
  23. Hey, Thank you for your comment, Well more than Debussy is Scriabin what had served to me as a guide, this piece is in my continuation of the seek of the avant-garde level of my own language without loosing the esthetics, and that's why I improve very slowly, since writing avant-garde and make it sound beautiful is something truly hard, that someday I hope I will make it, that is why there is a lot of melodies and the density of lines is actually light compared to what it can be. I don't know either what kind of pieces will be sent to the same contest, or how many, the orchestra has a very good level, but maybe not a super high level like those orchestras can play Ferneyhough or Dillon or that sort of things, but they do play Mahler Symphonies, Vaughan-Williams and that kind of works I found in their most recent season. I think my piece is as difficult as it needs to be to produce the effect I planned, nothing beyond that. Thank you for commenting, Yes I'm not too very happy with the ending either, but I was always rushed while writing this, I work all day I only had about 2-3pm and weekends to write this pieces, last saturday I decided to somehow finish it already, there's still 1 month to deadline but I wanna prepare other past works to send them, I'm gonna improve the scores a bit, make them look like the same "Publisher" and I don't know if I have time to make new mp3 of old pieces, this is actually a brand new setup of libraries in my Sibelius. Something I have to say is that my original intention was to make it sound very cosmic, and call it "Nebula Overture" but I'm not ready yet for that language, while writing it I felt it didn't sound cosmic enough and I changed the name to "Magical Overture" since it does sound magical, maybe "magical" is the previous step to "cosmic" ?
  24. Hey, about 5 weeks ago some friends told me about a composition contest is launched by the Xalapa Symphonic Orchestra, (Xalapa, in the state of Veracruz, Mexico) which is one of the most important and respected orchestras in Mexico, with very high level players from this country and foreigners, with an European conductor. This contest sounded like a very good chance to get a piece performed since they said not only one piece will be selected, but 8, and they are open to see the composer cataloge, anyway, I didn't delay much and started writing exactly 1 month ago, an piece in Overture form, with max. of 4,4,4,4 - 4,3,3,1 Timpani, 3 perc. Harp, Piano/Celesta and Strings, and 8 minutes maximum. There is no $$$ prize, but the pieces will be performed and recorded. Dead line is march 19, and results will be april 21. So, this is my entry for that contest, and I share with you here as a tradition to me.
  25. There have always been a much greater amount of bad music being currently written than good music, because write good music is hard, and write bad music is easy, it's not matter of this current present only, but all presents in the past, what happens is that time works as a filter, and only good music survives, and bad music is forgotten, that's why it looks like in the old times was written only good music, because the old trash has dissapeard, and now is trash all over the place, but don't worry, time will clean it, and bad music will be forgotten, and good music, beyond our personal opinions, will survive even if someone tries hard to distroy it. What I'm trying to say is that we do have our Bachs and Beethovens right now writing their masterpieces, but recognize them in the middle of the current jungle, is always a very hard task, besides is not up to us to pick them who's yes who's no, time will do it. Sometimes looks like time makes mistakes, but no, even if something good is being drawn in centuries, if it's really good it will come to surface like Vivaldi. We musn't forget our classics were all contemporary at their times, writing the most complex and difficult music of their days, No one said "I am writing classical music", they all were pushing the current style into the next step, No one is remembered today for writing "old style" music. One example to finish my post: An Old lady was listening to Bach in the church, He was playing "Sleepers Wake", as you may know the theme of this isn't Bach but a older hymn, the lady kinda recognized the theme along with the other line Bach added, she went to search the priest and accused Bach to be destroying the hymn, that he would not being allowed to do such things, that the other lines added were not even according to the theme (the Lady's critic on Bach counterpoint) that modern styles must be forbidden, it was a sin, it had too many notes were not even capable to listen or pay attention to all, etc etc all kind of negative "musical" critics. There were tons of organist, composers, back then, non of them were making those "modern" stuff, only Bach, and only Bach is remembered, the others are dead, and the lady ? made an historical ridiculous mistake.
  • Create New...