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Posts posted by SYS65

  1. Tonality is a galaxy, atonality is another galaxy, polytonality is the ship going from tonality to atonality, but the one travels in the ship is tonal, the real atonal is the alien waiting for the traveler, in other words, polytonality is the way tonality becomes more and more advanced until it could eventually leave entirely all tonal traces, but it's in that direction, not in the other direction.*

    Serialism is a black hole takes you straight to the atonality galaxy.

    *There is always an exception, like Berg.

  2. On 3/26/2020 at 10:23 PM, Left Unexplained said:

    ,kind of reminds me of bolero with so much similar interwoven motivic material.


    Thanks for your comment, strange comparison though.

    • Like 1

  3. 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".



    • Like 1

  4. 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.

  5. On 9/26/2019 at 9:21 AM, Sojar Voglar said:

     I find it a bit too repetitive in terms of varieties of motifs. 


    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.

  6. 1 minute ago, Luis Hernández said:

    Wonderful clusters..., some of them ... I'm not sure if they're intended to be played with fingers or as a block.


    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.

  7. 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. :thumbsup: 

  8. 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.

  9. 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 ?

    • Like 1

  10. 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.



  11. 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.

  12. 8 hours ago, Hugget Zukker said:

    Sorry, I failed to use the quote button.

    No, I think it sounds like an organ. Maybe it's just an organ - layered with flutes? It's the very first block chords heard, right at the beginning.


    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)


  13. 5 hours ago, Maarten Bauer said:

    May I ask in which country you live? In Holland (and the Benelux) there are many competitions, all very good and popular.


    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.

  14. 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.


    • Like 1

  15. 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.




  16. 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

  17. 3 hours ago, Maarten Bauer said:


    Wow. I am speechless. . . Of course in a good way.

    There is a lot of magic in it and that is partly because of the orchestration. I have nothing to say about the orchestration. 
    The atmosphere is splendid and reminds me of Debussy. Could you tell us more about this piece?

    I have only one critique point and that is the melodies. In such a big orchestration, I find it pleasant to recognize some material, but it looks like you are constantly introducing new material. 

    Very well done! I don't know the level of the participants, but whatever happens, you can be proud.

    Kind regards,



    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.


    1 hour ago, Adrian Quince said:

    Hi Daniel,

    Beautifully done! You've got a fantastic ear for orchestral color.

    The only thing I'd look at is the ending. Compared to the rest of the piece, it felt rushed. I only get a clear sense of "this is the end" when the timps come in at 157 and then the piece is over.


    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" ?

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