Jump to content


Old Members
  • Content Count

  • Joined

  • Last visited

Everything posted by Kefienzel

  1. People are generally more rude online because they can hide behind their computer and, like I said, be that "internet tough-guy" In the real world you'd look like a jackass and a tool.
  2. Actually no, we just forget a great number of great ones that were famous in their day.
  3. Yeah, "the internet" Honestly, in real life, people act with a little more tact. I think being tough (still with much more tact than was shown in this thread) on an experienced composer is good, but trying to lower the ego of someone who is starting out is fairly pointless The better you think you are at something, the more likely you are to do it. And the more you do it, the more you realize you know little about it. The appropriate action of this forum would have been to briefly address the main point (why the conductor considered it unsingable) and left the thread alone. People just can't resist being the internet tough guy though and putting people in their place though. And then they think quietly in their subconscious, "man I'm cool" This happens all the time everywhere though.
  4. There's something called constructive criticism. Apparently you've never heard of it. There's little point to sticking your head in the door and saying "I looked at your piece, it sucks" and then running away.
  5. I like how most responses here are "Your piece is bad", not "Your piece needs work. this is what's wrong and this is how you make it better"
  6. He's trolling - he's trying to get you upset to get his jollies. Just ignore him, he's not even being serious. Don't be discouraged either. Keep listening to music.
  7. Don't worry, he's an idiot. But to answer your question, no. It's just with having a work actually performed, the performer has to be generally familiar with the style of composition unless they have a decent length of time to study it. If you're giving music to a group (and you aren't famous), it should generally be in a common style, or else easily graspable. The piece you showed us is not in a vocal style at all. Look at the chords you are creating and try to hold common tones whenever you can. The piece looks piano-like or perhaps even more, brass-like. I don't think Piston's book is good for a beginner. It doesn't hold your hand. Studying common practice harmony will solve a lot of your problems.
  8. That's not true at all. When I was younger (a kid) I thought talent was the main reason for the best composers being the best, etc. Then I realized that the majority of people's success is through plain hard work. However, talent obviously exist. By talent I mean the natural genetic inclination toward a specific thing. Some people are born with a genetic predisposition toward math or the visual arts or music. It's not a black or white thing. Talent isn't the only factor, and neither is hard work. The best composers are a marriage of both. If you meant by this statement that "passion and determination" are a result of a genetic predisposition toward music then I suppose your argument is much more sound as people naturally choose to do what they are talented at, not only because it is more gratifying for them but because they get an ego boost from those around them.
  9. Definitely, I wish more people recorded on these. On a giant resonant steinway or something, Mozart can just sound odd at times.
  10. I think extended techniques are fine as long as they don't feel gimmicky, and they very often do for me.
  11. Tchaikovsky is godly. His orchestration is fantastic.
  12. I think you misunderstand...your teacher can tell you to write for orchestra, but they can't dictate your exact style. Your style is personal. If they told you "write a symphony like mozart", well, you'd learn that in a styles class. Oh, I'm also at a "decent" school, so I know from experience.
  13. They aren't letting you write what you want?
  14. Everyone bases their entire lives in some way on what everyone else thinks. Truth.
  15. Anything featuring a clarinet. Hmm.... 2nd viennese school with the exception of their early music. I like berg the most. This might sound peculiar but I'm also tired of Schumann's voicings. For the moment I'm tired of French music. It's never been my favorite. I'm in a Rachmaninoff mood.
  16. I think I know exactly what you mean, this is something I struggled with when I first started composing. I think the best advice is to listen to music, look at the score, and see exactly how they thwarted expectations. Haydn is great for this. However, in later romantic music, these expectations were not even there and odd-measured statements flow more freely into eachother. Another problem is having your little phrase/statement and then repeating it immediately to justify its existence. This is something Debussy did a lot and can be a turn off for me. But hey, if you like it, then go for it, there's nothing objectively *bad* about 4-bar phrases.
  17. Man I love brass, especially the french horn. I'd love to just remove the clarinet from the orchestra though.
  18. So I can look back on something I've written and feel satisfied. Also so I can feel good about myself and get praise from other people.
  19. If you look at the most famous composers, they often didn't start out immediately with a STRONG sense of their own voice. It was there but it was masked in other peoples ideas. Look at early Beethoven for example. I think originality is best achieved naturally and organically over a long period of time by closely imitating the greatest composers. What amazes me is how one piece can be very similar to another, yet bring about totally different feelings. I wouldn't worry about originality. Copying good composers is the best thing you could probably do. Just keep listening to a lot of music and a lot of different composers.
  20. lol...if you think THIS is losing one's internet virginity....
  21. It's a shame this forum, which could be mature, is dominated by assholes.
  22. No, but that's the strongest impression I get. What Williams does a lot is create music that goes very well with a film AND stands alone great. Some film music, if you take the picture away, is just tedious, unimaginative, or derivative, but when it's paired up with a scene we look past that because we are focused on the story and visuals.
  23. John Williams. I'm not a movie buff, but I've seen enough films composed by the other famous film composers. Howard Shore is great in films, but his melodies don't leave nearly as strong of a lasting impression to me than Williams. Danny Elfman I'm definitely not a fan of. One thing I'll say about Williams is that he's occasionally hokey and I dislike his use of percussion.
  24. Also thanks for the list, I'll look into it
  25. Thanks for the responses, I guess I was looking for a list of pieces we are just expected to know, but I guess no good one exists? I obviously can learn on my own, just wondered, thanks. Thanks
  • Create New...