MARTIX overture

A few months ago, I was developing another set of music theory, combined with internal examinations to make me stop composing. Now I probably finished this theory, then, I would like to compose music for a lot to prove the feasibility of this theory.

I have been unable to explain their works, as I hope you will use their hearing to understand it, I think this is the sub-level comments.

This work was likely to disappoint you, hope you can forgive me

MARTIX overture

No, It didn't dissapoint me, Is very classical and simple but is not bad,

Where is the "matrix" thing ?

A few things I saw:

You can use treble clef for cellos if necessary,

In page 8 last bar, there are violins with 5 tremolos ?, all violinist will play 3 most (well that's a tiny unimportant thing isn't it?)

Bassoon page 28 low G note = ->

There is a long silence at the end of the recording, if you're using sibelius delete the empty bars..

Well, in overall view, I think you harmony is too common but well applied, is better to stay in the "known" area and write something good that go to far and write just nonsense,

I feel a "dependence" of the woodwind-strings with eachother, try to break that by creating stronger lines/motif in one of those sections without doubling it in the other, because the colors of sounds are being reduced due to the similarity of instruments are playing it....

......If you draw a line in color Red, and then you draw a line in Color Green in the exact same position, how many colors do you see ? .... one, only one, ... a composed color yes, but is only one, if you draw different lines you'll be able to see the Red and Green easily.

Keep going Dark, it is good.

Matrix is a musical term that I created from the new musicial theory , I have also completed a paper this theory in detail dissatisfied release.

Thank you for your support

darkangel

Ou I see, a "Matrix" theory by "Dark Angel" .... sounds rocking great ¡¡¡

By the way, has your "Dark Angel" nickname something to do with Jessica Alba ? ... no ?

yes

darkangel is my nick name

It sounds good, but I'm still confused as to what this matrix theory is... it sounds like normal, tonal music to me.

If you are not concerned about instrumental issues because you aren't going to have this played ever, then all I can say is that there doesn't seem to be much development at all. That, and there really isn't much flow to the music at parts, such as when you have a static line played in only one instrument, thereby limiting the multi-dimensional interest of the music.

That's all I've got to say... not bad music, though :)

Angela,

This work is interesting. Very classical. I thought you were moving towards more of an avant garde manner last year - but this is a very nice surprise. My big complaint is your overall pacing in musical ideas. There are passages here where you 'start' and 'stop' the overall motion in your music. This might be a problem as it really doesn't do much to uphold a sense of interest in the overall structure and sound of the composition. Also, some of your string passages need to be better written. Where you have extensive ledger marks, especially needs to be 8va. Good work! Nice to hear a work of yours after so long.

thank you , jaw and ana

The birth of every new theory, I have to start from the classical period, if this works exemplified the success that the new theories may be right. I have a new theory for the time being does not include instrumentation. Therefore, this work is instrumentation is unqualified. However, due to, it is not masterpiece but the example works, so I do not need any major development.

As for "Listen up from normal" problems, this is my meaning.

This piece is much more accessible than I imagined considering the idea of a "matrix." You have some good material, but you have to be careful about orchestration. For example, when the flute is playing a low C remember that the sound will be easily drowned out by other instruments. When you have multiple woodwinds playing very fast the sound can get muddied quickly because not all of them can articulate at the same rate (like at 59; there is little chance that it will come out the way you imagine when played live), not to mention that you're expecting too much tongue dexterity from your players. However, if the work is on a purely theoretical basis perhaps you have achieved something that I do not see. Please keep up the work!

Black Orpheus

Your encouragement, I appreciate . The meaning of what you said I understand that, and I also find time to change it later. Because I was writing the other works

darkangel

Hi,

First of all, well, the score is kinda hard to follow. Can you, perhaps, use hide empty staves? It goes by very fast.

I like your music, I think it;s very cool, and I like your harmonies. But, mostly, violin 2 is playing higher than violin 1... I might suggest switching them out in some places. From bars 97-99, the cello is WAY up there... still in bass clef? I think tenor would be better there.

What is Martix, if you don't mind telling me?

Thanks!

Heckel

Score needs tempo and dynamics.

Some interesting writing from you, different from normal, but I like some of your ideas.

Got to be careful with the orch. On page 3 you have the cello very high, with the viola low.... a swap there would be felicitous.

Your tremolo markings should probably only have 3 lines.

Some very interesting stuff, but I suggest you get an orchestration manual, and become familiar with writing idiomatically for each of the instruments.

thank you , son and daniel

Hi angela, long time not seen here. glad you are back!

This sounds really classical. I think you need to explain your new theory. For now this piece will be judged by the old classical standards and will be fine (old but fine). As you have put a lot of effort in your theory you could maybe share it with us. It could help us review your piece to the new theory you invented. So please explain what the matrix is.

Jaap