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What a great representation of what the competition was going for. The score is superb, and your treatment of thematic material was awesome to follow along with (again!). You have a very bright future ahead of you as a composer, it was great to hear how you constructed such a beautifully arranged piece in a time of turmoil for you. Where others might have crumbled under your circumstances, you graced the world with art. Well done, I'm looking forward to other movements!

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37 minutes ago, Thatguy v2.0 said:

What a great representation of what the competition was going for. The score is superb, and your treatment of thematic material was awesome to follow along with (again!). You have a very bright future ahead of you as a composer, it was great to hear how you constructed such a beautifully arranged piece in a time of turmoil for you. Where others might have crumbled under your circumstances, you graced the world with art. Well done, I'm looking forward to other movements!

 

Thank you, I don't know when I will make/post the next movements but it will happen! 🙂

 

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This is awesome! You have a very unique harmonic vocabulary for someone of any age, much more considering your only 17 (18?) years old. I found it exciting and engaging from beginning to end, which, considering this is not a style I usually enjoy, shows it is exceptionally good. 

I wondered if you might discuss a few harmonic devices you used throughout the piece? It's obviously very chromatic in nature, and I noticed you frequently shift different chords and melodies around chromatically, but the idea is not overused and you always find subtle ways to keep it fresh. Are there any other interesting techniques you used?

The only constructive criticism I might offer is to consider utilizing some of the other typically orchestral instruments (brass, additional woodwinds). There are a couple of spots where I thought some well-placed brass chords could add to the intensity. This is of course subjective, and if you prefer to go with the more "chamber" feel you already have here I completely understand.

And one more piece of constructive criticism: I need to hear more! What you have here definitely feels like only the beginning, and could easily be viewed as the exposition of a much larger movement (or however you chose to use it).

Congratulations on your first place award, I eagerly await the remaining movements of this concerto.

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Wow.  You really use the whole range of the bassoon as my orchestration book says that the D# you have in measure 134 is the absolute highest note for it.  Actually - it advises not to go above the Bb above the staff in tenor clef so I am wondering how practical that upper range of the bassoon really is - how hard is to hit those notes and that highest D#?  I assume you wrote this concerto for yourself to play and it certainly seems challenging enough with all the chromaticism and frequent jumps in register (as well as jumping often between high register notes and the very low register).  Did you use set theory to compose this?  It definitely still seems tonal though, despite all the chromaticism and I am curious what key you were thinking of this in when you composed it (if any).  The long lyrical theme you wrote at measure 131 is definitely my favorite part of this piece although the chromatic 16th note motifs have their own weird character as well.  Nice job and congratulations on 1st place!

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5 hours ago, gmm said:

I wondered if you might discuss a few harmonic devices you used throughout the piece?

Well i wish i had something amazing yo tell you, but to be honest i am just a kid who writes music he likes to hear.. I have no idea what to tell you haha. I understand if that answer is not satisfying for everyone.

5 hours ago, gmm said:

The only constructive criticism I might offer is to consider utilizing some of the other typically orchestral instruments (brass, additional woodwinds).

I don't know how to write for brass rip hahah.

5 hours ago, gmm said:

Congratulations on your first place award, I eagerly await the remaining movements of this concerto.

thank you

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1 hour ago, PaperComposer said:

Wow.  You really use the whole range of the bassoon as my orchestration book says that the D# you have in measure 134 is the absolute highest note for it.  Actually - it advises not to go above the Bb above the staff in tenor clef so I am wondering how practical that upper range of the bassoon really is - how hard is to hit those notes and that highest D#?  I assume you wrote this concerto for yourself to play and it certainly seems challenging enough with all the chromaticism and frequent jumps in register (as well as jumping often between high register notes and the very low register).  Did you use set theory to compose this?  It definitely still seems tonal though, despite all the chromaticism and I am curious what key you were thinking of this in when you composed it (if any).  The long lyrical theme you wrote at measure 131 is definitely my favorite part of this piece although the chromatic 16th note motifs have their own weird character as well.  Nice job and congratulations on 1st place!

 

thank you, the bassoon part in entirely playable but very hard indeed. I had my father in head when composing it, he is one of the leading bassoonist of his generation (not my words). All the high notes are also playable, i made sure that i made it on such a way that it is possible. 

I have no idea what set theory is. And i think i just started on C and ended on C, I am not very good with keys. I have a lot to learn!

Thank you 🙂

 

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10 hours ago, Leonardo C. NĂșñez said:

I don't know how to write for brass rip hahah.

Well you have good instincts, if this is the only reason I say give it a shot and see what happens. You can always post whatever you come with on this board to ask for advice. From your other posts here it also sounds like your father is a member of a major orchestra, meaning you are only a couple of degrees of separation away from some of the best musicians in the world. If I were in your shoes I would take FULL advantage of that. I'm sure if you showed some of them some of your compositions and asked nicely they would be more than happy to give you a few tips and advice.

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