July 17, 200917 yr in few week ago , my brother suddenly beated me when he was drunk , then i composed this msuic for express this event , but i just forgive him already and hope you guy enjoy this piece dark-gaiking Abuse - Folder Shared from Box.net - Free Online File Storage
July 17, 200917 yr Wow, this piece is full of suspense. Great build up throughout the song, it always felt restlessness and intensity. My favorite part is when the violins come in with fury around measure 187 ish, that was great. I also enjoyed the length, it was long, but not too long. I have two minor (very very tiny) complaints, is that the ending seemed be a bit awkward but it might be a matter of opinion. Also I think that some of the orchestra hits seemed too spaced out between each, I started to loose interest for those brief moments. Other than that it was great, really well constructed and executed. Well done! :D
July 17, 200917 yr Dark, I think this is my favorite piece by you. You employ lots of colors and rhythms. I liked how you varied the pedal bass with changing time signatures and such, very cool idea. Some side notes: I think around bar 127 or so when you have quarter note drones on C in the cello and bass they would sound better staccato. When you bring the main theme back again (the beginning part), it's nice, but since you have a static harmony you could vary it up a bit. I think some parts are impossible to play, like the fast timpani and harp lines, but that's something I'm not entirely sure about. Overall, like I said this is my favorite piece you've posted. Besides the unfortunate event that spawned this, I like everything about it. Nice work. Vince
July 17, 200917 yr I love this. I feel it has a lot of emotion, and that it tells a story. Some of it sounds like fear, some like anguish, distress, and that feeling when your hair goes all prickly.
July 17, 200917 yr I don't think those low flute C's at the beginning are going to be heard. The oboe's Eb above it is a lot more powerful. I'm not even sure the low C's are comfortable to play. Harp part is pretty much unplayable, fully chromatic harps haven't been invented yet. Timpani is unplayable unless you have like 10 timpani and more timpanists, all of them on ecstasy or something. Why don't you call child protection or something?
July 17, 200917 yr Author ya . max . you are right i called cop already but i didnt charge him at that time anyway the flute is the sound what i want to have at that piece low strenght =/= no sound
July 18, 200917 yr Sorry about the incident. :( Sounds amazing, like a dramatic film music. Must have been traumatic.
July 18, 200917 yr Well, I liked this piece alot actually. First off it did seem quite suspenseful to me, that little motif containing a triplet and quarter note played in the timpani in low strings gave the piece an ominous feel to it. I thought measure 10 was interesting, the sound of the piano and harp overlapping and playing the same material might be an interesting color choice, but I'm curious as to whether the harp could play such a chromatic passage. I really was intrigued by your orchestration in the woodwinds in the very first few measures, Max was correct about the sound of the flutes, but I'm not sure if you wanted it to sound like that, having the tones of the instruments overlap like might be another interesting color choice..one that I have made myself. Ok, I thought your harmonies were interesting.. I'm sure the dissonance was for a purpose, a musical representation of the traumatic event you mentioned. Your notation most certianly can be improved and I can't help but compare that little melody in measure 48 to either clearly middle eastern music or even the Danse Bacchanale from Samson and Dalila, immediately that piece popped in my head. I'm not exactly sure what kind of form you're using for the piece as a whole, I hear motifs repeated several times throughout obviously, but I'm not sure what type of plan..if any..that you're using. I also thought that some of your time signature changes were unnecesarry, you said in chat that you wanted the rhythms to be "unstable" however I don't think that some of the time signature changes were succesful in creating that unstable atmosphere you wanted. That little virtuostic line you have in the timpani starting at measure 188 I don't even think is playable, timpani must be tuned can't be played chromatically like you have written unless you give them a few measures rest to retune. I think it'd be better if you just kept the rhythms you have written and keep it on one or two sustained pitches..timpani aren't the best instruments to write for melodically. Anyway one of the climaxes you had towards the end of the piece, I don't feel like looking now, was absolutely lovely and I enjoyed it. There were several instances throughout the piece where you used polyrhtyhms, I thought that was interesting as well. The way you ended the piece with the triplets from which it began with harmonized rather dissonantly made the piece seem whole. Overall this was quite enjoyable, it can be improved majorly, the writing for some instruments would be hard and near impossible in some cases, but it's a good job for 3 days work. :)
July 18, 200917 yr ...or some instruments would be hard and near impossible in some cases, but it's a good job for 3 days work. :) It would have had far less weaknesses if it was 30 days work instead, or hell, even 1 week.
July 19, 200917 yr Author It would have had far less weaknesses if it was 30 days work instead, or hell, even 1 week. i will add more oil , near
July 19, 200917 yr Hi Dark, I listened to this piece; it reminds me a lot of Stravinsky! The changing meters and something about the brutality of it really does. I'm not a master at orchestration or anything...but I was however, looking at your flute part and there're a couple spots that need to be paid attention to. I noticed that the 2nd flute/2nd oboe leaps, like in the opening measures they play a C and then a C the octave below; I would suggest not doing such a big leap like this because: low notes on flute don't project, and it's a bit awkward to do such a leap into the flute's lowest range. The thing with orchestration is: try to make the most color out of the least. Don't have things playing which you don't need to have. (flute octave leaping as noted above). Again, I'm not so familiar with orchestral writing, but from what I'm hearing, this is pretty good. Anything I said above is just what I noticed; you may want to ask someone with more experience in writing for orchestra...but, I like what I hear! :D Thanks for sharing. I'm sorry about your brother; I hope you're okay...
July 19, 200917 yr wow, impressive piece. I've listened the piece, it's not quite my style, (dont like avantgarde just to make noise) It's functional, great job. I have a question on the orchestration (learned myself, so dont expect a lot) I think you use the bassoon in ms 191/2 and 95/6 and further to enforce the brass. the other measures the brass and lower strings do something different, and the ostinato bassoon motive gets overblown...
July 19, 200917 yr Author overblow=/= no sound the overblow is what i want this kind of effect and thx you jrcr dark-princess
July 19, 200917 yr overblow=/= no sound if you say so... I still dont think I would hear the bassoon, and I like to think of myself as a studied listener :whistling:
July 19, 200917 yr Dark This is the best piece you have posted so far. The piece could go a lot further in what you are trying to say but will take more work than just copy and paste. The rendering itself has clipping in it from time to time that is a bit annoying. This is easily taken care of if you will spend the time doing so Ron
