September 25, 201015 yr Well, this is just great! I liked the p-f reactions throughout the instruments, and the vigour and force behind the rhythm and harmonic changes. It feels very well thought out, how do you work? Do you start with a rough draft of the whole piece and fill in the details, or do you just write as you go along? I like the little oriental touches like m24-26 - when is the performance scheduled?
September 26, 201015 yr Very nice short work here Sophie. The score is a little messy - but overall, not bad. I like it, very jazz influenced I think. Hope to hear this performed live!
September 27, 201015 yr This is indeed a lovely piece. Nicely quirky. Love it. at times the transition were a bit too sudden, as where at other places they were exactly rightly paced.
September 28, 201015 yr I listened to this about halfway through while following along with the score and just gave up. The music is needlessly difficult to read. I had to fix a lot of stuff like that in one of the works I uploaded (which is already hard enough without making the actual sheet music a pain to read). Some basics of what makes a score difficult to read: -dotted quarter rests in simple meter. -lack of curtesy accidentals -unnecessary sixteenth note rests (ex. m.1 piano RH. You'll get the exact same music if you notate it 16th 16th 8th. Mark it "staccato" if you really want to.) -misplaced rests (ex. m.1 clarinet. The 16th rest belongs with the group of sixteenths at the end of the bar). Always be sure your overlying meter is completely visible in the rests and beaming. I see what you're doing with the three-note motive, and that's great. But what you need to do is consider that musicians have to *read* this. You have to find a way to get your point across without making the job of your musicians painful. Because your overlying implied meter is different for each instrument, you must notate all the parts so they look like 4/4 so everyone can be on the same page while they navigate through their individual lines as they relate to the other players. Okay, enough about notation. I like the jazz inflections. ;) The harmonic motion was really pleasant as well. The disjunct silences worked for me, but started to get a little tiresome at about 0:50 and I didn't really get over it after that. Be careful about overusing one element like that. I really like the whole entire closing section! ...ooh, spoke too soon. Don't like the stinger at the end, it didn't fit. As composers, we create our own rules, and we must be very particular about when and how we choose to break them. Call me picky, but a long note to a stinger just doesn't work from what you've created before it, and the deviation didn't seem to have any purpose other than Sofie saying "Alright, done." :P Bravo! Lotsa good stuff in here, regardless. Clean up the notation. Thx for sharing.
November 28, 201015 yr Hi. It's an excellent and lovely work. Not so sure about how "unique" your textures might be (I felt kind of acquainted to them already), but there's certainly a kind of "Mojsiejenka sound" in approach, as to say so. As been said, "very well thought out". Congratulations.
November 28, 201015 yr This ... is a delightfully bizarre piece :phones: Like Woodruff said, I also sense some jazz-like progressions, but there's also hints of pentatonic-esque sounds, and the loud clarinet parts playing off the soft clarinet parts... maybe it's just the midi's portrayal, but it sounds like the kind of blips and bloops from an old arcade-style video game to me :blink: It's all a very surreal mix of sounds and styles. It would imagine it'd be very difficult for performers to learn, with all the wild changes in loud and soft dynamics. Such is the life of a performer, I suppose :dunno: But taking Peter's advice with tidying up the score is a great place to start. Thanks for sharing, this is really nice! :D
