Do you mind if I play your Organ piece? I'd love to. My only comment is that it lacks melody.. Other then that, it would sound Great on big pipe organ. The power!!@_@

EDIT: Nvm, it looks like it has a melody on the Sheet music, You just cant hear it in the Mp3 if you dont know what your listening for.

I would love it if you would play my piece! If you can, post a recording!

An arrangement for TTBB of my favorite Christmas Carol:

Interesting piece, though I'm not completely sold by the harmonies. There are some pretty strange parts like the 3rd beat of measure 3 where you have a very dissonant chord with a tritone and a major 7th Also, though this is mostly due to the recording, the unison chords sound kinda bad as well - and I think the ending sound more appropriate if it was a complete chord. I'm kind of interested in what process you used to voice this piece, though.

The very rough beginnings on the "Agnus Dei" movement of the requiem. Basically I want it to have three separate parts, hopefully with common themes, although I'm not very good at that. The first is representing the atonement, trial, and crucifixion of Jesus Christ. I would like it to have a very strained, almost painful feeling to it given through both the orchestration and the tonality, which is also mixed with an underlying beauty. The second part is representing the three days between the death and resurrection of the savior, and the mourning by his followers (similar feeling to Mozart's Lacrymosa, although completely different conventions), which then transitions into the finding of the empty tomb and the resurrected Jesus. The final section is representing the joy that is felt as the news spread across the world (this last section will be especially based off of a work by John Rutter called "Gloria"). I think that the first movement will be orchestral and choral, the second primarily orchestral, and the third orchestral and choral, all with primarily English texts which will go something like this:

Son of God and Man, by Thy sacrifice Thou taketh away the sins of ev'ry man; ev'ry pain and affliction dost thou suffer. On the cross, Thou must surely die!

Gloria in excelsis deo! The law hath been fulfilled! The Lord hath been resurrected and in His new life there is hope; for our Savior broke the bonds of death that men may have eternal life!

The opening really needs some sort of punch to it. The 'wave'-like effects you added to it kind of ruined the tension and 'strained' feeling you tried to create. At :13, that high horn note felt that it should be replaced by yet another trumpet. You were building with such a nasal sound with the trumpets it almost sounded grotesque with a rounder timbre on top of it. Don't argue with the fact that you want to make it sound like there was 'suddenly light' and all that metaphorical stufflings, because the horn would surely be overpowered and be unbalanced with the other brass instruments. At 1:26, why let the timpani have this march like rhythm? It's too heroic in style too. Furthermore, since you already introduced the brass in the opening, why don't you start with another group of instruments? Timbrally speaking, you're being repetitive at this point. I hope that those minutes of silences were your unfinished parts.

Overall, I don't think you really 'strained' either your orchestration or tonality. It felt rather... Casual. If you want to hear both truly 'strained' orchestration and tonality, have a listen to Penderecki's Threnody to Hiroshima. Very very strong and strained music there.

I thought, that was very good. It definitely established the theme you were trying to establish, and it sounded very nice as well. I did enjoy the Heroic Theme and 1:23, and I also enjoyed the use of brass in this song.

Yes, those pauses are the unfinished parts (as I said, rough beginning to the song). I guess the biggest problem that you brought up was that it was too casual...

Edit: @Etaroko: thank you very much!

Wow, I really love this idea! I agree with Sir Dot on the horn note. I'd replace that with another trumpet or maybe a Piccolo Trumpet for a slightly different sound. I add two grace notes to move to that note, but that's a preference thing.

I can't wait to hear the rest!

A recording of "O Nata Lux" by my school choir (yes, we had serious tuning issues, but we didn't have a lot of time to work on it):

There's nothing wrong with the actual song, and I'm sure it is proper and all with the rules of chorale music.. but that choir was really bad sounding in my opinion. Although it is a school band after all, and it's always cool to get your music performed.

I hope that is the result of them only practicing it about 3 or 4 times. There are several things I'd changed, But I'm sure it's nothing you havn't already considered. And it probably sounds different live, then it does recorded. Good Job though!

And for the Wexford carol: I got quite bored of it. I dont know if its because I'v heard quite a few different arrangements, Or because yours was just not appealing to me. either was, it lacks something to call it unique.

Sorry, part of that was because there weren't dynamics in the midi and part of that was because it was written to be more like a hymn in that it just repeats the same parts for each verse.

I like most if your songs, just a little sugestion. How about adding some voice, and I don't mean lyrics, perhaps just some gibberish words like the ones you can hear in Karl Jenkins' Adiemus albums, or if you watch anime the ones that Youko Kanno wrote for Earth Girl Arjuna. I recommend using Vocaloids Miriam for the voice. Just a suggestion though. :)

Which songs are you referring to?:eyebrow:

So I decided to compose a new movement to the string quartet (I really wanted it to be 4 movements). Don't let this affect the contest, but I just thought I'd post what I have so far for people to have a listen.

String Quartet in Eb Major - Allegro Marcato (www.crumble-onuts.com/music/String_QuartetIII.mp3)

I know I've already commented to you online, but I like what you are doing with this piece. I think it may just be me, but it kind invokes a picture of something "Pirates of the Caribean" like. XD

Hit me up sometime on MSN for a second.

Keep doing what you do best dude! :lol:

Requiem Aeternam (www.crumble-onuts.com/music/deathraiderRequiem_Aeternam.mp3)

This would be the last movement of the Requiem, most likely. Obviously not finished, but I thought I'd see if anyone liked it and if anyone could tell what composers influenced this one the most @_@

Just be careful with the horns. The beginning part also seemed a little strange with the long timpani roll and what ever the other instrument was. Maybe just like a one bar crescendo roll with the timpani and them a cymbal crash on beat one of the next measure.

Bring on the rest! B)

OK, I have finished the string quartet movement (four posts above), so please have a listen and comment.

Allegro Marcato (http://www.crumble-onuts.com/music/String_QuartetIII.mp3)

Sheet Music (http://www.crumble-onuts.com/music/IanM2.pdf)

That was pretty interesting.

I liked the short and disconnected feeling you went for. Great use of dynamics and articulation! It should sound great with a real quartet!

I didn't like some of the glissandos that you used or some of the really high 1st Violin stuff. I know you were trying to fit a way to use measures 82 and 83 into your piece but I didn't like how you squeezed it in there. That part can be real bad ass if you use it some other way then the way you are using it now. XD

MOAR! ^_^

I fixed 82-83 so that they work better, the other things I don't know what to tell you because they are there to stay.

BTW, this is being performed on May 20th by a String Quartet at my school, and I am WAY excited.

OK, I know I've already posted this a long (long) time ago, but I wanted to re-post it and get some fresh insight on it. I want to polish it up because I think I want to enter it in a contest. When I posted it before, I just called it Violin Harp Duet, but I have since renamed it as Memories of a Rose.

The entire piece is absolutely gorgeous! The only thing that sounds kid of odd is the very ending note of the song. If you have a minor chord at the end of a song, unless I'm wrong, wouldn't you agree that it sounds better as a lower chord inversion/octave? Like a straight forward A minor chord played the same way for seven measures in a row. Your song does not compare to that, but I would try to change it up a tiny bit at the end. Sounds awesome! ^.^ (woohoo!)

That was random... Thanks though.

My piece is being performed tomorrow! Any things that I could fix last minute

O Nata Lux, as performed by the Hillcrest High School Vocal Ensemble (it's at least 1000 times better than the last recording I posted, I promise :heh:):
http://www.youtube.com/watch?v=4cP2GJ1dQBM

Beautiful, if a little hard to hear at first. I do agree about it sounding better this time, however.

Thanks!

Here's my string quartet, too. It's not quite as well performed, but the performers didn't have much time since the teacher decided to do it about two weeks before the concert and the students were already really busy. I was still pleased, though.

http://www.crumble-onuts.com/music/String_Quartet_[live].mp3

O Nata Lux: Bad ass. When does the studio quality recording come out? XD

Quartet: Well, at least the cello got it right. XD It sounded a billion times better on real instruments.

Wow, I just looked over like the first half of this thread...wow, my music has changed a lot over the [3] years, and so have I. Strange...

Sorry for double posting...

As I am currently in the UK (I live in the US), I am on my dad's laptop which doesn't have all my usual programs on it. Therefore, I'm posting a link to a .wav file for the song that I'm currently working on as well as uploading a .mus file. It is an experiment with french horns and key changes.

Edit: it's an .mp3 now.

triple post:

Hey all you noobs need to comment on other peoples' music, too!

Very interesting! It feels more harmonious then melodic. It flows well and so does the key changes. I wish it opened a little slower, bringing each part in slower by adding more counts to the notes played at the beginning.

Yeah, what's up with these n00bs and their lack of comments? Don't they think if they get comments from us that they should return that favor? I dunno.

Very interesting piece there... reminds me slightly of Michael Kamen's "Quintet" (as played by Canadian Brass ^.^). I agree with Porsche here, either a slightly slower tempo, or perhaps more tenuto or longer values on some of them sweet chords. Perhaps a slower tempo in the beginning and a slight accelerando towards the middle?

Also, that final chord, I love it... but still my ear wants that [sus. 4th I think? 7th] to resolve somewhere. Preferably, up.
Also, also, I love the horn sound (which we had 4 horns.... which they sounded that good...).

I like the harmony, in special from 0:01-0:12. The key signature changes flow very well, but I find each change a bit early (Meaning each fourth bars, but nothing wrong with that anyway).

The mp3 should have less reverb for appreciate the timbres better, unless it will sound less realistic with less reverb?

When you first posted the link, I could not listen to it because it had porn around the player, lol. Those advertisement or spams of the internet.

I love how rich and majestic the French Horn sounds. I haven't yet heard a convincing sample of it. :(

I don't really have any advice to offer, but I enjoyed the piece. I'm not much for dissonance, but the bit that was in here worked. The key changes transitioned nicely, but I would agree with Nyu001 in that they occur too early. I would like it if this was longer and if there was more substance between each key change. I know that this is just an experiment, but more length and contrast would be nice. I could see this as a full song!

Thanks for the comment! I'm planning on orchestrating that piece for full orchestra and lengthening it out in the near future.

This song that I'm posting now is a short loop I came up with this afternoon that turned out pretty well. The file is named what it is because the first part started out as an experience in polytonalism. However, it morphed more into something like music from a FF game (IMO).

PS, I'll probably write more into the loop, but I figure the section I have transitions back pretty well.

This short loop is relaxing with the calm that emanate. I like it a lot!

Sounds pretty neat. Nice job with that! How did you come up with some of those M/m 2nd intervals that fall on the +'s?

I though it sounded pretty cool with this lead too...

How did you come up with some of those M/m 2nd intervals that fall on the +'s?

Are you talking about in the left hand or between the melody and the accompaniment? I'm confused what you mean by that they "fall on the +'s".

http://i66.photobucket.com/albums/h255/porschegtiii/Ands.jpg

Ah. Thanks for the .mp3, BTW.

Sounds like a nice start of piece, though not so much polytonal as chromatic as even throughout the chord changes the melody remains inline with it. The melody does have that old school FF feel, though with more adventurous harmony. Speaking of adventurous, I'd liked to have seem more "adventurous" intervals like those during the first three seconds of the piece.

Yeah, the first two phrases actually are polytonal, I promise (although the second is more debatable), which is where the "adventurous" interval fits in. I guess I could add some more polytonality, but I was having trouble deciding how to transition it back in...

Edit: I made my own MP3 that works a little better for me than Porsche's, although I'm still grateful he took the time to make it. Polytonal - Ripples (www.crumble-onuts.com/music/Ripples.mp3)

WIP inspired by all the odd pieces I've listened to today (although not as odd as I would have hoped).

I have to like the abrupt and obnoxious sound of it. I'm looking forward to hearing what occurs after the power chords.

WIP inspired by all the odd pieces I've listened to today (although not as odd as I would have hoped).

The beginning threw me off a bit as it suddenly picks up after first two or three notes. But if you were to develop this into a longer piece, and kept that same sort of motif for the starting of the phrases, it'll probably settle in well. I like the two-and-a-half part textures, and the harmony is pretty interesting throughout as well. Not a bad little ditty in any case.

Coolbeat: makes me think of game music...sorta. like when you get to some temple. the harmonies are very interesting...the main melody has a little bit of a exotic taste to it...

Destroyed Water reminds me of Gorgorian chant (is that how it's spelled?) kind of religious with a hint of dark nn omious xD broken down old church.

Mystery: nice triple meter piece. i guess the religious feel is your style. xD the instrumental melody reminds me of the song that the octopus-faced guy played in Pirates of Carribean II...

Sad...(the title could be slightly more creative...like maybe melancholy or something...) i guess if you played it on piano instead then it wouldn't be so heavy...the harmonies are a little repetitive...somehow takes my back to when i used to play this really low-quality 3D game...but the music was nice...xD

Mezzonette: real peaceful. the begining is like 17th century but the rest is like drifting on the water at the dawn of day...=.=" dunno how that fit together...maybe i am crazy after all...

very nicely done...and what strong fingers you have...xD

ripples: bells in a tower atop a bamboo forest. does that exist?

Wow, all my really old, original stuff and then one of my new pieces? Thanks...care to comment on the more, though?


@Shizeet: Yeah, I've been working on the beginning a bit and on continuing it. I can't decide whether I should change it from piano to one of the weird midi FX or something, though. Anyways, I'm having fun with this one.

I would have liked to hear a bit of dissonance. The mordent gave to it for a little sec a feel of exotic music.

By the way, Destroyed water? How you ended with such title? lol

There was "a bit of dissonance"...

As for Destroyed Water, I changed it's name to Cold Reflections a while back. The title had to do with a story I was writing.

Wow, all my really old, original stuff and then one of my new pieces? Thanks...care to comment on the more, though?


@Shizeet: Yeah, I've been working on the beginning a bit and on continuing it. I can't decide whether I should change it from piano to one of the weird midi FX or something, though. Anyways, I'm having fun with this one.

haha srry i'll do that now... i didn't read all the pages xP

first of all...srry for double posting :heh:
okay i know it's not in order, but:
String Quartet III: have your band ever played Tir na Nog before? the mood is very similar, if yours isn't more upbeat. (also, this reminds me of .hack) In the live performance the violin was kinda out of tune, but considering you guys put it together in such a short time, congrats. i'm not a string player nn i've only played with one once, so i'm not to talk about it xD anyhow, i really liked how you started fast and brilliant, but slowed it down in the middle, creates nice contrast. REALLY liked the run/smear/bend/watever-you-call-it the violin did in the transition from slow part back to theme A again. really adds the flavor. very nice bass line btw.

String Quartet I:haha i thought i'd never hear 7/8 again. ;D nice transition to 6/8 (or is that 2/4 with triplets?) ...nn then back to 7/8...interesting dissonance at 1:32. nice base line. the slow section is very sad :( i like the harmony at 2:44-2:46. (is that viola? i can't tell) ...and the exotic flavor. it's like your signature dude. the pizzicato part reminds me of orisinal. or maybe i just play the games too much.

(...I'm srry i couldn't figure out where the second movement started. i probably mixed it up with the first one.)

O Nata Lux: i'm very interested...wat does the title mean? anyhow, awesome tenor guy. can i steal him for my SATB piece? xD jks ... anyhow, interesting harmonies. i could never pull off cluster chords. kudos :)

the requiem link didn't work for me. aren't you a bit too young to be writting requiem masses? lol xP

...i'll do the rest later. i wish i could rub off a little of your talent :sweat:

Thanks for all the comments!

I've decided to orchestrate my latest idea, so here's what I have far. I realize the beginning is a bit rough, but bear with me as I translate it to orchestra :heh:.

BTW, I'll get around to commenting on everybody else's new stuff once my internet is restored on Monday. I've been having very limited time on the internet since I have to use my parents' laptops every time I want to get on...

Ha, I have to admit every time I hear 0:31 and 0:59 I hear an orchestrated version of the 80's song "Our House" by Madness. XD It sounds pretty interesting. Can't wait to hear the rest!

Rather nice transition into orchestra. I actually really liked the beginning, and wished that part would've lasted a bit longer. It sounds like you've taken the piece into a more tonal direction, but it does feel more natural for the orchestral version. Very nice start, for sure. Hope you continue working on this :).

The Experiment piece... Well, if my piece is one of those "odd" ones you listened to, I'm pretty honored... I think @_@

The orchestrated version I listened to and I don't particularly care for the opening... perhaps a bit too foreign/chromatic sounding for my ear (despite the weird chord flow of my latest piece). Once the strings came in tho everything was lovely. I really liked it! The beginning, if you really want to keep it, I'd iron out a bit... I've done stuff like that before and just kept rewriting it till it had the best balance of "odd" and "safe" ;) heh I would definately like to hear you pursue the latter half of it more.

Yeah, I know the beginning didn't work. I've been working on it quite a bit. I was trying to figure out how to adapt if from the piano score, but I don't think it's working out so I'll probably come up with something entirely different.

Happy birthday Deathraider! You are now a legal adult. Cool. :)

We all need to sing happy birthday now. >_>

Here is a new thing I've been working on with my composition teacher. It is basically a piece based on the chord progressions from John Williams' "Sabrina". So far I have a a' b a' sections.

Thanks for the birthday wishes from like 2 months ago! I've been very busy since then as I moved into my dorm the day after my birthday, and then I started college the next week.

I've never heard John Williams' "Sabrina," but I find this interesting... Not much to say, except that I like it.

I don't know if it was intentional... but that midi sounded like there were a lot of wrong notes (like accidentals not being read)... I know some composers like using dissonance randomly, but the way I heard it that was just unpleasant to listen to.

Such as? I'm fairly certain they're all intended. Some of them might have to grow on you a bit before you start to like them. Most of the somewhat strange harmonies come fairly directly from the Williams score.

It sounds pretty alright to me. The only note that sounded maybe a bit too out of place is the Db in measure 4 does kind of off alongside that harmony (but its parallel in the recap section - measure 27 - does sound more convincing with that reharmonization).

I don't know if it was intentional... but that midi sounded like there were a lot of wrong notes (like accidentals not being read)... I know some composers like using dissonance randomly, but the way I heard it that was just unpleasant to listen to.


Such as?

Answer:


The only note that sounded maybe a bit too out of place is the Db in measure 4 does kind of off alongside that harmony (but its parallel in the recap section - measure 27 - does sound more convincing with that reharmonization).


Yeah. I agree. I am also upset with the playback. XD This could sound so much better played live with a musician that can express the piece with changes in tempo and dynamics. I hope you do get it played live. ^_^

Check this out! A new recording of O Nata Lux by the Pittsburgh Camerata, as performed in their concert "Illuminare - The Light of Christmas" (www.crumble-onuts.com/music/O_Nata_Lux_[live].mp3)

Wow, sounds much better this time around, both in performance and general sound quality. Congrats on getting another live performance as well :).

Congrates dude! So happy for you. It's too bad I didn't get home in time to hear it live!

This performance makes the piece to show its beauty! Great performance! And great audio quality! I love the solo voice.

So .... O Nata Lux... I notice in the PDF you've got a makeshift rall. at the end (fermatas on each quarter note)... out of curiosity do you know why it's not performed with this slowing-down or hesitation?

Aside from that, I'm very impressed... and very jealous! :P It sounds magnificent when professionally done.

Yes, actually, I know exactly why they didn't do that (because I asked about it). Apparently, the director felt she needed to cut off with the soloist, since the soloist represents the only D# in the chord, and the soloist (probably partially since she was very pregnant) wouldn't have been able to get through the phrase and hold out that last note if the director had held those notes. I'm currently trying to decide whether to try to tweak that ending a bit so that the soloist isn't holding the D, or whether most soloists would be OK with that.

A new work in progress: Rex Caelestis (http://www.crumble-onuts.com/music/Rex.mp3)! This composition utilizes some of the latin text from the "Gloria", and is meant to go alongside my Lux Aeterna and O Nata Lux. It is scored for Organ and SSSAATTBB. BTW, I know the notation is messy, and I'll fix that once I decide for sure what the best way to do it is.

Edit: the last 20 seconds that play aren't in their final form yet. I realize they need lots of fixing and I know that they are pretty boring.

In case you haven't heard, my piece that was performed in Pittsburgh by the Pittsburgh Camerata and at my high school last year (a piece called O Nata Lux) is being performed once again by Utah State University Chamber Singers! You can listen to the recording from Pittsburgh here (http://www.crumble-onuts.com/music/O_Nata_Lux_[live].mp3).

I, too, would LOVE to hear that Sabrina imitation live, I do like a lot of the dissonances that Williams used.

That live recording of O Nata Lux is to die for, with all of those rich harmonies with that wonderful texture of the choir. Astounding!

I really love that effect in the beginning of Rex Caelestis when the dissonance builds up and then is followed by a perfect fifth, and those harmonies you use, like the Tenor 1 B# in the beginning, I love that. Great work so far!

Hmm, I really would like to hear a live recording of this new piece when you finish it. And to hear the text to be sung, I am sure will be very nice as O nata lux. With that tempo I find the piece will be long. Sounds relaxing. :>

Yeah, I noticed how everyone gets annoyed when I post new threads, so I won't do that anymore. Thanks for the compliments! Oh, and it means something like Midnight Stroll through the Clouds (very roughly)

Yes, without articles, prepositions and a verb instead of the noun. :heh:

Yeah, well...I basically just looked up some Italian words and put them there. However, that was 4 years ago, so how can you blame me for being a total noob?

Sorry, I was not blaming you. I listened to all of your compositions and just made a note on the title which in the end was the only thing I could criticize. ;)

This is the beginning of my new clarinet solo, which, if I can finish it in time, I will probably enter in Noir7's contest. Hopefully, because my girlfriend is the first-chair clarinetist here at my university, I can make a live recording of this piece when it's finished.

Edit: I am attempting to base the form off of the traditional Sonata-Allegro form, and am now entering the "development" section.

Its pretty good. It's great, really. Just make the piano part a bit louder... Not so loud until it drowns the clarinet, but just a bit. Your songs are great, love them. Keep composing~~

Nice, I love 7/8. I don't really care for ornaments on the closing note of a phrase, but it's a matter of taste. It's good to see you utilizing clarinet vibrato, as a lot of people don't like the sound, but I think it sounds beautiful. You might want to specify a fast vibrato because I don't think a slow vibrato would fit into this piece. Good work, hope to see it finished :)

Thanks, I'll take note of the vibrato thing. My girlfriend (who would be my clarinetist if I ever decided to record this) was weirded out enough that I put vibrato in at all... :shifty:

I started this new song for solo soprano and piano based on a prose that my friend Andrea wanted me to set from Tess of the d'Urbervilles. It's kind of lacking in a real form, but I decided there wasn't really a set form that would fit the contour of the imagery in the text. Note that this is only a rough draft, and that I realize that there is still a lot of work to be done on it. Feel free to comment, though.

Raise Up Dreams (http://www.crumble-onuts.com/music/Raise_Up_Dreams.mp3)

Your clarinet piece is nice so far, but it took me a second listening to distinguish between the two themes (I don't know if it was your intention to use a bit of the first theme for the ending of the second theme). I think if you make the contrasts more apparent, it will help you greatly in the developmental section, since you can then play around with motives, modulations, sequences, etc. But that only works if we know that a particular melody came from this theme or that theme.

Yeah, actually that has been my roadblock in writing the piece, and I'm not really sure how to change it, because I feel like the ending of the first phrase of the second theme just seems to flow right into the beginning of the second phrase of the first theme in my mind...

The only problem I have with "Raise Up Dreams" is that the lyrics seems a little awkward.

In what way?

Like the lyrics themselves don't really flow, like their not really coherent to me.

Well, I disagree, but then again I didn't come up with the Lyrics.

Very nice, I love how free-flow-jazz-esque it is. Beautiful lyrics, it almost sounds like a Lewis Caroll or Frost poem. Are the lyrics from Tess of the d'Urbervilles? I'm looking forward to a live recording once this gets finished. I'm curious about the singer's interpretation. :)

Thanks, I'm glad you liked it. Yes, they are straight from the book! Hopefully I will be able to get a recording before school gets out in May, and I am excited to hear how she interprets it, too!

*bump*

This is an arrangement of my favorite hymn that I started over the weekend; it's only the first little bit so far, but since I haven't done many arrangements, I wanted to bounce it off some other people before I got to far into it.

I don't know the original but this one sounds nice. Did you changed the harmonies or used the same?

I used similar harmonies, but I'm planning on changing it up a lot in the future verses.

man, midi always make it sound like some old nintendo music. Is it suppose to be solo at the end or you just haven't finished yet?

Just haven't finished it at the end. I can post an mp3 of it so far, but that seemed kinda dumb...

Edit: here's the link to the mp3 - I Believe in Christ (http://www.crumble-onuts.com/music/I_Believe_in_Christ.mp3)

I am just here to say that I like your piece for clarinet and piano (I always forgot to say it). I hope that turn in a long piece. I don't have any critic to say really, I just want it longer and finished for listen to it. :P

OK, I really should start work on that one again anyways...

Nice arrangement. Is it to be played at a service?

It's a decent arrangement, but you're up against some stiff competition. I really like what Wilberg does with the rhythm in his most recent arrangement. You could spice it up a pinch in that regard. I really like the counter melody in the first horn, but I thought I'd heard some of it somewhere else. Is part of it from the tenor line of the hymn version? I dunno. Maybe it just sounds so natural I thought I'd heard it before.

I think what you have going for you is orchestration. I'd never heard an arrangement for just brass. Good work!

Haha, yeah, I keep thinking that I need to step up the rhythmic complexity, especially after listening to the Wilberg arrangement. What parts of the countermelody did you think sounded familiar?

Haha, I was just wondering yesterday whether you were LDS, too, because of the title of the album in which "Toronto Fantasy" was placed... :P

You've found me out.

The familiar sounding part was measures 25-29.

New WIP:

So I keep trying to set this poem that I wrote a while ago to music, but have thus far failed. However, last night I started over, and I think this could actually work out! It's called Breath Eternal. This is the text:

Breath Eternal
Washing over
As blood,
As bitter-sweet libations:
Invigorating sacrifice.

Revitalizing Storm
Made warm by woe
Of immeasurable wounds,
Yet caressing;
Calming torrents.

Night-wind,
Bursting through darkness
From cavities,
Filled by luminous conflagrations;
Purifying love.

Edit: oh, and yet that last chord is supposed to be completely unresolved; I've only gotten up to the fourth line of text, but that last chord is set to the word "blood".

Wow. That was really beautiful. REALLY BEAUTIFUL. It reminded me of the closing music of halo 2. Will this just be for voice? Have you thought about using synth pads for this?

Haha, sorry to be such a stickler, but I really felt like you are sometimes a little too selfish and expect us to comment on your music without reciprocating.

Yes, this will probably just be for voice, but synth pads is an interesting idea...

Haha, sorry to be such a stickler, but I really felt like you are sometimes a little to selfish and expect us to comment on your music without reciprocating.

Yes, this will probably just be for voice, but synth pads is an interesting idea...

Yea. I'm a prick sometimes haha so please so slap me on the wrists when I am haha. mmm.. I think the synth would work really well in a studio version. It would really give your beautiful harmonies a kick! :)

Edit: Oh, and sorry!...about the pickness thing...and don't you say sorry haha!

Hmm, relaxing! I don't know why, but the mp3 makes me thing of calmed water in a dark place, haha. I like it.

Edit: Oh, and sorry!...about the pickness thing...and don't you say sorry haha!

's all good. Thanks for the comments; I was kinda worried this one wouldn't go over too well...

So I am wondering when the next great composition is going to present itself.

??

Well, that entirely depends on what you mean; I think that if I can keep the inspiration flowing on this one it could turn out really well. Why do you ask? Do you not think it's very good? :huh:

Breath Eternal is really cool. You definitely should extend it and add in some soft instruments. It's your composition, but it's just a thought.

It is very halo-ish sounding, and that is a good thing. Nice work, and keep at it!

Again with the Halo! Haha, not exactly my goal, but I guess it could be good...

Trust me, it is a compliment. The opening halo theme is wicked cool. I know it might not be what you want, but it just sounds similar.

Whatever you do, make sure you post up the finished product, I'd love to hear it!

Again with the Halo! Haha, not exactly my goal, but I guess it could be good...

It is! Some of the halo songs have Gregorian monk style tracks have fantastic harmony!

These tracks for example :)

1) http://www.youtube.com/watch?v=0XXy52b5BxE

2) http://www.youtube.com/watch?v=k2diJm7U55U

2) I can't find the other one. It's the most beautiful one too haha so I will have to give it to you in a cut scene. It's the Halo 2 ending. Just listen out for the voices that come in after about 19 seconds.

Thanks!

Hey Kevin, what midi patch would you suggest using for the synth pad? I don't really have a great soundfont library.

Edit: Yeah...I guess I had forgotten how great some of the choir parts on the Halo soundtrack were...

Thanks!

Hey Kevin, what midi patch would you suggest using for the synth pad? I don't really have a great soundfont library.

Edit: Yeah...I guess I had forgotten how great some of the choir parts on the Halo soundtrack were...

Soft. Something with a slightly airy quality maybe.

IDEA!!!! I'm can put your song into my sequencer and mess around with some synths to give you an idea of what would work. If you're happy to let me :)

Surely! I just posted the newest version.

Surely! I just posted the newest version.

I got mixed messages from that response haha.:heh:

Ummm....sorry? It wasn't meant sarcastically or anything. I honestly just meant go ahead and mix it; I'd love to hear your interpretation. If you're confused by the fact that I "posted the newest version", I just mean I added some more stuff, so I posted the newest version with the added section.

Sorry!? No sorry haha! I just didn't know that's all. I'll see how I go :) Now I see what you meen hehe.

Ok I've put together a little demo for you, but it isn't perfect. :)

The first time is with synth over the choir, the second is the synth actually playing the choir parts :)

Hope you like it! It's a absolutely beautiful composition. When it's synthy it reminds me of "An Ending" by Brian Eno.

Let me know if you want to try with different vowel sounds and/or synth patches :)

Cool! Definitely an interesting mix. Interesting idea to have sort of an ambient background synth on the first mix...

Update:

Breath_Eternal.mp3 (http://www.crumble-onuts.com/music/Breath_Eternal.mp3)
Breath_Eternal.MID (http://www.crumble-onuts.com/music/Breath_Eternal)
Breath_Eternal.pdf (http://www.crumble-onuts.com/music/Breath_Eternal.pdf)
be.MUS (http://www.crumble-onuts.com/music/be.MUS)

AHHHHHHHHHH SO PRETTY!!!!!!!! Get this performed by a choir when complete!

Hopefully I will. I'm planning on asking both my former university choir director and the director of the Pittsburgh Camerata if they're interested (I know the director of the Pittsburgh Camerata gave me some advice on it already and she acted like she really enjoyed it).

Good! Make sure you get good recording equipment! I think O Nata Lux is good quality. Also, if recorded, i can put through my PC if you want me to add some good reverb to make it sound like it's sung in a church or something. Just an option though. :)

First draft is finished (the links above will still take you to it).

Choir music. Something I've also been working on lately, so I guess I will provide some feedbacks:

Breath Eternal

Impression

From the first few bars, I already hear a huge Whitacre influence with those minor seconds, sevenths and ninths. This might 'sound' like a good thing if you are a Whitacre fan. However, the point here is: we already have an Eric Whitacre, do we really need another one? Basically, I am trying to say that you should try develop your own unique voice, despite the fact you might think Whitacre's style is phenomenal.

Specifics

The text you chose is also rather interesting. However, you didn't seem to have used it to the maximum potential. Where is the word painting? Use the music to tell the story of the words. For example, at the part with the lyrics "night wind", you can have some people perhaps whistling or emulating a wind effect. The fact that you have chosen a text for your piece means it is important that you give emphasis to it. You are telling the texts through the means of music, but not just merely giving the choir something to sing.

On the more technical side of things, on bar 40, it would be keener if you didn't use sharps. I understand that theoretically, you're trying to show that you're modulating. But be practical. Having sharps in a piece with 5 flats will throw performers off at times because it takes an extra split second for them to process the notes they will be singing since they're thinking in flats.

Adding to the comment above, *please please please* add cautionary/courtesy accidentals after your modulation. Not all, but some performers will somehow miss the key change. Better safe than sorry.

This is a more ambiguous point, in my opinion, but my composition teacher would argue that it is vital to choral writing:

When you write music with a text to be sung, you want the text to be understood and heard clearly. Therefore, in order to achieve that, you must think of the stresses and accents of the text to follow how they're supposed to sound when they are spoken normally. From your piece, I could see that the texts are somewhat 'distorted' from the rhythms of how they are supposed to be spoken. As said above, you're setting a text to music. If it's not heard and understood correctly, what's the point of having the text?

Overall

As usual, I don't point out the strong points in my criticisms. I do that because composers innately know what are the strengths of their piece. There is no need for a critic to reiterate. However, a critic points out what could be improved upon.

Well, good luck with it!

I don't feel like I am being the same as Eric Whitacre; I DO have my own unique voice and I you're right, I DON'T need you to tell me that.

Word-painting: I'm pretty sure there is tons of word-painting, but you're just missing it, for some reason...

Accidentals: that IS in fact, how I originally wrote it (keeping it in flats), but another choral composer suggested I write it how it was currently written, so I'm a little torn at the moment.

Word emphasis: I *know* that my word emphasis is good, and that this is a strong point. I'm not sure, unless you can give me a specific example, that you really know as much as you think you do on the subject...

Sorry, I'm having trouble being civil to you, because I'm still trying to get over the last couple of times we've spoken. However, I really do feel like you're wrong on most of these points. Thanks for the comment, though.

Despite the fact I don't understand why you are offended, I will still continue to do my best to help:



Word-painting: I'm pretty sure there is tons of word-painting, but you're just missing it, for some reason...

You're probably not obvious enough then. It's easy to fall in the trap where you 'think' you're doing it, but you actually are not. After all, you know your piece best. However, the audience doesn't know it. Be very obvious.



Accidentals: that IS in fact, how I originally wrote it (keeping it in flats), but another choral composer suggested I write it how it was currently written, so I'm a little torn at the moment.

As said above, practicality over technicality.


Word emphasis: I *know* that my word emphasis is good, and that this is a strong point. I'm not sure, unless you can give me a specific example, that you really know as much as you think you do on the subject...

Okay, a few examples:

"As bittersweet libations" - when you say it, it's not "as-bit-ter-sweet-li-ba-tions"; it's not all the same value. You don't give each syllable of 'bittersweet' equal length. It's 'short-short-long', but not 'long-long-long'.

"Sacrifice" - you distorted the word by giving them note values that are too long. Now it sounds like "saaaaaaaa-creeeeeeeeeeeeeeeeeee-fiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiice". Depending on the tempo, the audience won't really catch what they're singing if you stretch each syllable for too long.

---

I have researched and have been taught this subject for a very fair amount of time. I do not consider myself an expert in choral writing, but I do think that I am substantial enough to criticize the points I mentioned above. You can take my advice with a grain of salt, but doubting my ability, or anyone who criticizes your music is rather unnecessary.

Honestly I'm not sure either, which is why I'm trying so hard to get over it.

My word painting WAS obvious to other people I have shown it to. Plus, I don't think it should be TOO obvious; word painting should be a subtle device.

On word emphasis, I can see what you mean on sacrifice (and I'm already working on revising that section for several reasons). However, you must remember for your other example that natural rhythmic stress also creates word emphasis. You don't necessarily need to elongate a syllable to have it emphasized.

Mysterious Gamer (http://www.crumble-onuts.com/music/VGDeath2.wmv)

This is a funny video that my friend and I made; I did the music to the beginning and end (which isn't much). Obviously, the rest is by Nobuo Uematsu. Enjoy!

I have no experience in choral writing whatsoever, but I will say that I like the text you chose and how you presented it. Nice, thick harmonies, and interesting chord progressions that caught me off guard but made me want to listen more. I can't wait to hear this performed live :)

On a side note, I do agree that it would be easier to notate the transition to the key change with flats. Screw conventions; if it'd be easier to read then it's all good IMO.

Thanks! I will take that into consideration. I'll probably ask a choir director which they would prefer.

So when are they planing to perform/record Breath Eternal? Have you managed to secure the choir?

Mysterious Gamer (http://www.crumble-onuts.com/music/VGDeath2.wmv)

This is a funny video that my friend and I made; I did the music to the beginning and end (which isn't much). Obviously, the rest is by Nobuo Uematsu. Enjoy!


Haha, amusing little video. Where are the FMV's from by the way?

The intro/outro music was short, but certainly a nice addition - really moody stuff.

Haha, amusing little video. Where are the FMV's from by the way?

The intro/outro music was short, but certainly a nice addition - really moody stuff.

Haha, I'm so glad you liked it. Those were from FFVII: Crisis Core for the PSP. Yeah, I realize there wasn't much there for the "intro/outro" music (and luckily it didn't take me that long to come up with), but I'm glad you liked what was there!


So when are they planing to perform/record Breath Eternal? Have you managed to secure the choir?

No, I have not secured any choirs yet, although I have sent the music to both my University choir director and the Pittsburgh Camerata director. Neither of them have sent me anything back yet, but I know they're both busy (in fact I know one of them has been in Europe). I am hopeful, however, seeing as the Pittsburgh Camerata director showed quite a bit of interest in it when I showed her the very beginning of the piece a few weeks ago. She might be singing a different tune (hahahahaha...) now that I have the sopranos going up to a high Bb, though...

Breathe Eternal:

I won't looks at your voice leading since I know you've got that part down already :lol:This piece gave me a watery impression. Measure 17 was beautiful, well done. An F and G on the soprano is starting to get high. If you were entering this into the competition, I think you might be pushing the requirement of "performable by the high school level choir." Maybe if it was done by a soloist since there's gotta be at least one good singer in the choir? However, musically it is great. The B in measure 35 i think might be too far. You will need a VERY GOOD professional level choir to have the entire soprano hit it. If it was performed by the high school choir, they may have maybe 1-2 people in the choir that's able to hit it that's a girl and the rest will have to lower it by an octave. One way is to write "Falsetto" on the notes. This will probably allow the girls to hit up to the high C with quite ease and guys should be able to reach even a E-F. This is less noticeable for girls than for guys so I don't recommend it be used on the guys. The modulation was very nice. The way it was resolved was very good. The final 2 measures was my only dislike in the piece. It just feels like you could have done more there. I remember reading a comment a while back when you first posted this about someone saying you should think of the word purifying interms of how it is said...longs and shorts...I agree to this comment. straight quarter notes in the end gives an almost chant like feeling when listening, which is good if it is what you intended but it just feels too plain to me. The playback you have right now doesn't show the breaks in the syllables too clear when played so quiet but I would imagine if the ending was sung, you won't get such a mellow effect.

Grrr...sometimes I think people forget (or maybe just don't realize) that I have years of choral singing under my belt and that this is my specialty. First of all, a G is fairly high, but I have experienced several songs that go that high (my "O Nata Lux" being one of them). Actually, the director of the Pittsburgh Camerata once told me that high school/university choirs would actually have an EASIER time with that note. Second of all, the Bb in the next phrase is clearly labeled as a soprano solo, if needed, which should be fine (I know, once again, from experience). Third of all, only very, very rarely is it needed to specifically notate "falsetto" in the score; the voice is actually much more complicated than just having "chest" register and "falsetto" (actually in women it is not called falsetto, but either just "head voice", or sometimes "whistle tone") register, and generally it is left up to the individual singer to figure out what will blend best with the rest of the choir. Last of all, I *know* the ending doesn't feel right (which is specifically why I asked you to review the piece, if you'll remember; I was hoping for a suggestion that might trigger an idea in my head...). Anyway, I'm grateful for your input but some of your comments were a little misdirected...

based on what I learned from my vocal teacher, I know that there is chest, head, and falsetto (fake voice). The third, is very much existent in female and distinctively different from the head voice. I'm not sure why this would be easier for a high school/university choir to hit the note correctly. Note how I said correctly. Every girl I know can hit the high G one way or another if they've sang songs in their life and not tone deaf. Most of the time, they are using pure falsetto or head voice. It's true that the chest voice become less and less significant the higher the notes get but if it is sung fully through falsetto, it become weak or sometimes more metalic than it should. I'm not criticizing your knowledge in choral music. I only said it because I've met singers in highschool choirs...not university, and sadly, I've not seen too many that could tell whether they were using pure head or mixing the two and out of the many singers I've heard, I currently know only a hand full of them that can correctly hit high notes. Many would either use falsetto, or simply scream it out. Now, it is obvious that the choirs you've been speaking to are all alot better than the ones I've encountered. Now if more than one singer are singing, then maybe it would be able to hide the imperfections in their vocal treatments, I don't know. You will probably know that better than me because I've rarely heard the male go higher than a F and the female higher than an E.

I did not notice the Solo for the soloist. sorry...I must have disregarded it thinking it was lyrics.



I knew you had years of choir music writing experience and that is why I knew u did it on purpose. The fact that you added a breath mark in between, have the volume rising to a forte, and came right back down to the comfortable zone also told me it. High school choirs' level to me does not give a very high rank and that is why it raised concerns when I saw such notes being written. I guess what I was trying to say was, your piece would be a difficult piece to perform.

As for your ending, I don't know what kind of chord progression would work but I can say that the rhythm does not. I am more into melody and polyphony than harmony. I would have suggested taking out the second last measure all together and just sustain the final chord but that would change your lyrics.

I guess it totally depends on the high school choir; my high school choir probably could have done it just fine, and so could several other high school choirs in my area, but I suppose high school choirs in my area are held to a very high standard. It's hard to say if they would accept it for the purpose of the contest, but I'm not even sure if I'm entering this piece in that contest.

I finally thought of another idea for the ending! :heh:

Breath Eternal.MID (www.crumble-onuts.com/music/Breath_Eternal.MID)

Breath Eternal.pdf
(www.crumble-onuts.com/music/Breath_Eternal.pdf)
Breath Eternal.mp3 (www.crumble-onuts.com/music/Breath_Eternal.mp3)

Edit: Sweet! My thread broke 50,000 views. :P

I haven't gotten a chance to listen to all of your pieces yet, so many pages to go through, but the ones that I have heard I have enjoyed thoroughly. I don't have any professional composition training, only some harmony, but I will try my best to give critique on the pieces I have heard.

O Nata Lux is perfect. I wouldn't change a thing about it everything just seems to work together so well. My question is how did you manage to get the Pittsburgh Camerata to preform it? Completely beautiful piece, very reminiscent of Eric Whitacre.

Organ: It's nice to hear that composers still write Preludes and Fugues for the organ. So far I really enjoy what you are doing with it, I may have missed the finished version while I was page jumping, but I can't wait to hear it completed.

Breath Eternal: Gives me fond memories of the 2007 PMEA Region 1 Choir Festival, we performed Water Night. Your piece gives me such a similar feeling, but without feeling that it is the same piece. (<---This could sound really insulting, it is not meant to. I loved Water Night and Breath Eternal give me a similar feeling. I'm rambling I hope you understand what I mean.:heh: ) Your fondness for Eric Whitacre shows in your choral work, he better watch out because you might be taking his place very shortly.

Agnus Dei: I love the way that this piece begins, very interesting harmony for the opening but It works well and I am particularly fond of the way that the theme is restated in a major variation right before the first build. I also like the way that right after the first peak of the piece it drops to a seemingly eerie, but soothing Pianissimo very clever use of dynamics. I look forward to putting your requiem on my I-pod right underneath Missa Solemnis when it is finished.

Every time I listen to these harmonies I feel so pulled in. You need to get a fantastic recording of this and you NEED to give me a copy. It's just SO BEAUTIFUL! Even if my choirs were working, it doesn't do the piece justice...

OK the new stuff :P

I like how you've added the dissonant chords, but it still works really well :) Then a little later you have some swells. I think they work, but they're not my favorite part of the song. The ending obviously explores more harmony before coming back to the first part, but I feel the transaction could of had more fluency. Maybe merge into the Eb chord before the melody starts. Unfortunately, I didn't like the Bb major ending :( Sorry to say that! :( I just think there is so many better possibilities for an ending hehe. Do some fantastic harmony thing that (if possible) pwns all the beautiful harmony that has happened so far hehe. I'm not sure :P

Anyway, I LOVE IT!!!!!!!!!! FINISH AND RECORD ASAPPPPPPPPPPPPPPPPPPPPPPPP

I finally thought of another idea for the ending! :heh:

Breath Eternal.MID (www.crumble-onuts.com/music/Breath_Eternal.MID)

Breath Eternal.pdf
(www.crumble-onuts.com/music/Breath_Eternal.pdf)
Breath Eternal.mp3 (www.crumble-onuts.com/music/Breath_Eternal.mp3)

Edit: Sweet! My thread broke 50,000 views. :P

Wow, this is a very well done piece of music. I really enjoyed the phrasing (can't wait to hear those staggered entrances done live) and especially the harmonies (gotta love those chromatic substitutions ;)). It looks fine to me on paper, but the recording really makes it hard to hear some of the passing notes. That, or the recording isn't the same version as the PDF - the ending for one sounds very weak in the mp3, but the written version actually should work pretty well. Strange. Oh well, great job with this though :).

Pazzelle, I admire your dedication at wading through all the pages and pages of comments and crap on this thread! The Agnus Dei I haven't even looked at for like 2 and half years, and instead of a "Requiem" I've decided to do a set of pieces along the lines of "Songs of Light". I'm so glad you liked them all, though (and for the record, I haven't had "professional" training either, I just have been composing on my own for a while).

Kevin, can you give me some measure numbers? Maybe I'll just ask you on messenger...

Shizeet, that's the second person I've heard that comment from, but I'm really not sure how to fix it...

Edit: Oh, and Pazzelle, I posted "O Nata Lux" on Choral Public Domain Library (if you don't know what that is, you should totally check it out at choralwiki.org), and the director from the Camerata happened to be looking for a setting of "O Nata Lux" and found mine on that website. She was SOOO gracious and really hyped the whole thing up (I ended up with my own post on the blog of the music reviewer for one of the two major newspapers in Pittsburgh XD), and then she boarded me at her house for 5 days so I could come watch the concerts. I am seriously eternally in her debt (not to mention the fact that she is one of the most witty and amusing people I know, now). From that, my University choir director decided we should do the piece, too (he didn't take me quite as seriously before I made him listen to my recording from Pittsburgh). Anyway, I guess what I'm trying to say is that I posted my music on several websites, but I basically just got really really lucky. Nevertheless, persevere and put your music out there on websites like that; many directors use CPDL when looking for music to sing at concerts or on CDs because it is all royalty-free music; while you won't make a profit off of the recording, you will get some awesome exposure.

Sure. I'll and then I'll give you bar numbers. Be back ASAP :)

...Well? :P

Ahh forgot! I need to remember things better! I will edit this post soon! Sorry :(

Hey, I took another stab at the ending, so before you do it, make sure to have a listen to the new ending.

Sorry I haven't already :( I just got out of my final exam for the semester! YAYAYAY So when I get home, you're second on my list hehe. I'm getting some food on the way to my room :P

Sorry I haven't already :( I just got out of my final exam for the semester! YAYAYAY So when I get home, you're second on my list hehe. I'm getting some food on the way to my room :P

Haha, it's all good! I hope you did amazing!

OK!!!!!!!!!!!!!!!!!!!!!! BACK!!!!!!!!!!!!!! sorry for delay.

I don't think you need to change much more. It's almost perfect. But I really like it synthy lol. A part that I don't think should be there is bar 72-81. Maybe try not to go outside the harmony too much there hehe. Also, maybe it needs a less sudden ending. It was too sudden for me. Sorry for being blunt today. I'm pretty tired lol.

I hope it helped. Sorry again about the wait.

Kevin

I disagree that it's sudden. It's very unfinished-sounding, perhaps, because that's what it needed (and by the way I showed it to the director of the Pittsburgh Camerata and she agrees, so I think I'll stick with this one). I really like bar 72-77, and she didn't object to that either, so it's here to stay. However, I might still work on the transition in 78-81 to make it little more driving; we'll see. She also said, however, that she wanted to try to fit it in to their second concert, which will be in the Carnegie Museum in Pittsburgh (which isn't a music hall, but it has some really awesome acoustics since most of the walls/floors and everything is made of marble), so I'm excited!

Edit: oh, and thanks so much for your comments!

Look's like "Ichigo's Master of the Voice" is on his way to another spectacular vocal composition! :lol:

About the mentioned transition of 78-81. I'd say that is a toss up to mess around with. To me, it sounded fine. Unless you have something better in mind already, I'd leave it be.

Another thing, though this must just be a stupid Finale thing ( :heh: ), it from the 4th beat of measure 49 (The "ppp" section) until it got louder I really couldn't hear anything.

Carnegie Music Hall IS an awesome place. I myself had only been there once to see the Pittsburgh Symphony Orchestra play Beethoven's 5th symphony when I was a child. It is, VERY awesome indeed. My father tell me when he was a child (this would be circa the 40's early 50's) he would go there to listen to the organ play which he tells me is also a sight to be... well... heard. XD

If they play your piece there and it's on a weekend, I'll be sure to be there.

Actually I don't think it would be in the music hall, but rather in a part of the museum itself (I think it's a part of the Art Museum, but it's a huge chamber in which there is lots of sort of Neo-Classical or possibly Baroque architecture and art. If I remember correctly, this chamber is right next to the Music Hall and there are actually a set of doors into the music hall. I could be wrong, but I know that's where they have sung in the past and from what she said it sounded like that was where this concert would be as well.

Anyways, thanks for the comments; I realize the audio/midi files aren't perfect (especially dynamics-wise), but the sheet music is really the most important thing in this case anyway. I need to keep working on that, too, though...

That's awesome! good luck! When the choir performs the piece you have to record it! and those bars will be fine lol. My comments at the time were probably unconsciously performance based hehe. SORRY! I don't mean to. :(

I CAN'T WAIT to hear this performed!

Haha, no you don't have to say sorry. Your opinion is your opinion and I am glad to hear it.

Listened to Breath Eternal. I really liked it, but I felt it was hard to follow without the score, maybe just because it's that "Eric Whitacre" type of piece. It was an amazing work, and you've come a long way Deathraider. I cannot quite take a stab at your piece, because it's written extremely convincing. It's very choral, and your voicing is pretty darn good. I do have some quarrels about some spellings of chords, but I am not going to say for this very reason: The voicing (orchestration, if you will) you wrote here work perfect for 'these types' of chords. Great job, keep up the good work.

Thank you so much; that means a lot coming from you. Did you not look at the score I posted with it, though? You must have if you know how I spelled the chords. I'm a little confused what you were saying there... anyway, on chord spellings, you're right, most of them I chose based on what would be easiest to read (although really I tried to be theoretically correct in most cases). Nevertheless, I would not be offended if you DID tell what chord spellings you see as technically incorrect; some of the chords I had a really hard time analyzing when I was writing them with my limited theory training, so I probably need all the help I can get.

I must admit, it kind of bothers me that people are comparing this to an Eric Whitacre piece, though. I do really like Eric Whitacre, and one of his pieces--"A Boy and a Girl"--did inspire me to write this one, but if you listen to that piece there aren't many similarities, in my opinion. I suppose I should be honored since he's one of the greatest choral composers of our time, but I am *trying* to be original! :P

I did look at the score, and I can't say anything technically wrong with your spellings, since they'd just be my taste for how I like things to sound. I like my chords to sound extremely rich, a little thick, and I tend to put suspensions and different (you use Fb a lot) accidentals more towards the alto or soprano range, instead of a tenor range.

Another thing, as much as I like this piece, I am not fond of the chords that are used; the reason I compare it to Whitacre is because of the style of the chords. You use a lot of cluster chords, much like Whitacre, and has that smooth, almost synthetic sound. I like clusters, but after a while I felt the piece was atonal-- as in, I didn't "feel" a tonal center. It could just be me...but I didn't feel a noticable change from each chord or harmonic progression.

This is original, but we are all human and we all will have something in common with others, especially if it's somebody that we look up to (you mentioned Whitacre IS one of the greatest choral writers, so you must look up to him). I am quite pleased with this work, but I just wanted to give you a fair critique of other things that crossed my mind in your response. :)

Ah, so you're not commenting on "spelling" per say, but the actual chords themselves. That makes a lot more sense. For the record, though, I don't technically use cluster chords in this piece; all of my chords (with the exception of maybe 1) can be analyzed traditionally as chords based on stacked thirds. Correct me if I'm wrong, but a cluster chord would have clusters of 4 or more consecutive notes in a chromatic or diatonic scale which cannot necessarily be analyzed by traditional means.

I like the sound of the piece. (Which I guess is what music is all about) I was reminded of Whitacre, to be honest. I was also reminded of Barber's Adagio for Strings, but like Mazeppa, I have trouble identifying the tonal center. I wasn't sure what which notes were supposed to be the dissonant ones. One thing that I really like about Barber's piece is that there's a clear leading voice with the melody, which is absent in your piece. But hey, I guess that's not what you're going for. Plus, that might just be an effect of computer generated music.

Well done, though. I neglected to say that it's beautiful.

Yes, I can't say I was going for a Barber-feel (although, have you ever heard his arrangement of the Adagio for Choir, which is called "Agnus Dei"? If not, you should check out the recording by the Dale Warland Singers; c'est incroyable!), nor was I looking for a clear tonal center in some sections, so it's really OK that you couldn't find one (in my somewhat less than expert opinion, at least...). I'm glad you like it, though!

Hmm well I suppose before I go writing my constructive criticism I should say this: "Why in the hell aren't you publishing this stuff and making tons of money?!" Seriously, this is amazing stuff. Challenging, and it sounds glorious.


Okay now for the tough stuff...

The bass part has me worried. First at measures 12-14 and again from 16 onward to 22. If you're wanting a strong bottom as a foundation for the chord (it's really hard to hear the bass part there in the MP3) going below an E-below-the-staff is asking for trouble. My lowest note is a C#/Db below the staff, C is I really really try... but comfortably (see: usually) it's an F or E. If you're looking for this to be sung by college/high school choirs this is pretty much a roadblock. If you're going professional choral groups maybe not as much. (edit, take that back, not a problem with pro. choral societies)

I would honestly call that Db and the occassional D(nat) I see below the staff too much to ask for.


Starting at measure 72, having the bass section split into three parts... omg! O.o;; It's usually hard enough to have each part split into two, but *three* *bass* parts? ouch that's thick. The main concern here isn't necessarily notes, it's people. This puts a pseudo limit on the number of choirs capable of performing this piece. Many just don't have the numbers of men for that to get a nice full (mainly audible) sound of each sounding note of the chord. I personally like there to be a good solid bass sound, so the numbers are important for that to occur.



For the Db and D's below the staff, might I suggest fooling around with transpoing the entire score up either a half-step of whole-step? For the three-part bass... umm... good luck! :P
I really really really really like this piece. Spectacular. I really don't know how you do it.

Just get the #%)* live recording! We want it! :P

I'm so happy you like it! Believe it or not, though, I really have thought about most of these things at least somewhat. You're right, many high school level choirs couldn't do it (although really it would depend on the choir; my high school choir ended up doing a piece with a low C in it, but I realize that is probably the exception). I can get down as far as you can on a good day, though, and I'm a tenor. Anyways, I understand your concerns, but I think I will keep it as is. I don't really like it modulated as much, but if a choir has a hard time with the low notes, they can transpose it up themselves; it's not that hard to do for an a capella choral piece (although then it's really a stretch for the soprano line, anyway).

One thing relating to this that I learned in the process of writing this piece (from the director of the Pittsburgh Camerata, in fact), is about a phenomenon called a resultant, which is basically what happens in measure 17 where the chord appears to be in second inversion, but because of the way the men's parts are set up it sounds as if that low C is there. Just thought I'd share that interesting compositional tidbit.

On the topic of splitting the basses in 3, it's only for 2 chords! I've seen multiple choral pieces that do this; it's fairly commonplace, especially in cluster chords (although as stated above mine are not cluster chords) and such. Another good example is in Mack Wilberg's arrangement of "Angels We Have Heard on High"/"Angels in Their Realms of Glory" in the thick harmonies of the men's verse.

Thanks so much for the input; it's much appreciated!

Edit: oh, and I *am* working on getting the live recording, Nyu001. As I said before, it will likely be performed in February by the Pittsburgh Camerata, and I am working on getting other directors interested in it as well (today I submitted it to a really well known choir called "Conspirare" which actually just commissioned a work by Eric Whitacre...it's a long shot, but we'll see). Furthermore, I submitted it to a couple of publishing companies this week, but it will be a while before I hear anything. If anyone knows of any reputable publishing companies that accept unsolicited submissions of this type of music, let me know!

This is something I made earlier today because I was bored (I sang all 4 parts and mixed it with audacity). I'm thinking of making it into the intro for a pop-ish kind of song, but I have no ideas for lyrics yet...

random mix (http://www.crumble-onuts.com/music/mix.mp3)

Sorry, it's only 8 bars long.

Nice voice! Dunno how this would be like a "pop-ish kind of song". But I like it! I am also trying to think of lyrics for something short I want to do, but nothing comes to mind... I am horrible with that part. -_^

Haha, curious snippet, though like Nyu said it doesn't quite feel quite like pop vocals. Maybe if you added more of 'bite' to it or something heh. But I do like the harmonies though.

That was just plain cool haha.

Yeah, I'd definitely have to sing it a bit differently, but for some reason it kind of reminds me of "Change the World" by Eric Clapton, which is why it feels like pop to me.

I wished my friend Happy Birthday on Facebook today, and she responded, "Hey now, where is my personalized birthday motet???" So...here is her personalized birthday motet! Hehehe...

Ahaha! That was so cool ahaha. This may be because of recent events, but that reminds me of Final Fantasy, as a main theme lol. Sweet job :P

...did I just say sweet..?

I like the music. You should be named as Ichigo's Choir master!

Seconded :P Edit your sig ahaha.

Nah...I'd feel much too pretentious. Thanks, though!

Well you can put not self acclaimed Ichigos Master of Voice or Ichigo's Choir master ahaha.

I wished my friend Happy Birthday on Facebook today, and she responded, "Hey now, where is my personalized birthday motet???" So...here is her personalized birthday motet! Hehehe...

Nice job as usual, though I was kinda hoping it'd be a bit more 'upbeat' (as 'upbeat' a motet can get at least, :P) given the celebratory occasion. Also, I know you are focusing on choral works, but it'd be nice to see some more instrumental stuff more often ;).

It's not like I haven't worked on any, I just haven't really finished anything. I keep thinking I want to finish that clarinet sonata, but I just can't think of what to do next.

Edit: Oh, and It's a motet, not a madrigal. Motets can only be so upbeat.

New WIP: "Stars", based on the poem by Emily Bronte (once again SATB; sorry Shizeet :shifty: ).

The poem is as follows:
Ah! why, because the dazzling sun
Restored our Earth to joy,
Have you departed, every one,
And left a desert sky?

All through the night, your glorious eyes
Were gazing down in mine,
And, with a full heart's thankful sighs,
I blessed that watch divine.

I was at peace, and drank your beams
As they were life to me;
And revelled in my changeful dreams,
Like petrel on the sea.

Thought followed thought, star followed star,
Through boundless regions, on;
While one sweet influence, near and far,
Thrilled through, and proved us one!

Why did the morning dawn to break
So great, so pure, a spell;
And scorch with fire the tranquil cheek,
Where your cool radiance fell?

Blood-red, he rose, and, arrow-straight,
His fierce beams struck my brow;
The soul of nature sprang, elate,
But mine sank sad and low!

My lids closed down, yet through their veil
I saw him, blazing, still,
And steep in gold the misty dale,
And flash upon the hill.

I turned me to the pillow, then,
To call back night, and see
Your worlds of solemn light, again,
Throb with my heart, and me!

It would not do--the pillow glowed,
And glowed both roof and floor;
And birds sang loudly in the wood,
And fresh winds shook the door;

The curtains waved, the wakened flies
Were murmuring round my room,
Imprisoned there, till I should rise,
And give them leave to roam.

Oh, stars, and dreams, and gentle night;
Oh, night and stars, return!
And hide me from the hostile light
That does not warm, but burn;

That drains the blood of suffering men;
Drinks tears, instead of dew;
Let me sleep through his blinding reign,
And only wake with you!


I will probably only be doing the first and last two stanzas, although in the short excerpt I posted I've already set the first two; I might do more if I can think of creative ways to use the rest of the text.

Edit: Oh, and 10 points to anyone who can guess the composer that inspired the style of this piece.

I'm guessing.. Berlioz? The style just reminds me of the Dies Irie of the fifth movement of the Symphonie Fantastique. XD The other thing that came to mind was myself, but that probably wasn't right. So I'll go with good ol' Hector. :P

I liked the piece, thus far. Very simple, but straight forward and the chords are (of course) very nicely built. Keep on writing them choral pieces. I know, at least, you'll be able to become a great arranger of choral music.

Just for giggles, what are you planning to do for college?

This just proves how much you understand the choir :P

I really like it. My favorite bits are parts like 0:05 where you do that progression. WELL DONE! :)

Thanks! Actually, no, I am not particularly familiar with Berlioz, but now I'll have to give him a listen...

I've been doing choral education as my major for the past year, but I'm transferring so I can do composition (composition was the plan all along, but my original school was going to do it for me, and then didn't).

Composition major? Nice. Now I can finally say that I know one. XD It probably was a good idea to get out of Education. I basically was blinded the past several months on an education major, because it definitely wasn't as hyped up as I thought it was. So, I'll just be going for a Performance Major in Piano for all three degrees, and that'll get me where I want to be. Seat on the piano faculty at some nice university. :D

Where do you plan to go for composition? You should go somewhere like Michigan or Indiana... I plan to go to one of those :D lol..

Actually, there are a couple of pretty good universities in my area. I'm going to University of Utah (but I secretly wish I was going to BYU; don't tell my parents because there is some intense rivalry between the two universities!). Unfortunately I don't have money/grades for an out-of-state university, anyway. :(

You should study singing and compose like a mad-man this next year and then apply for BYU anyway. That'll take care of the money. Grades? It's music school. You don't need 5's on AP tests to get into music school. XD

5's on AP tests aren't my problem (I've got those). It's my actual university grades from this past semester (long story). I'll probably just do a masters degree in Choral Conducting at BYU anyway, though; their choirs are superb.

I've gone into musical ADD mode again! Here's another little thing I wrote last night that I may or may not finish that is for Woodwind Quintet (hopefully I finish it because if I do I already have someone lined up to play it for me! :heh: ). It's kind of inspired by Bach (ok, and a little Beethoven).

BTW, the composer I was inspired by for "Stars" was John Tavener.

It's really good! I think there could be times where the bassoon (is it? I can't read Finale files) could be a little busier with the counterpoint and really bounce off the higher woodwind instruments. 1:01 was great! :) FINISH THIS ONE!!!!!!!!!!!!!!! THAT'S AN ORDER!! ahaha! :P

Well, I'm still working on it/making progress. That's a good sign.

This woodwind quintet got me. I really love it. I liked how the flute entered before reach its measure. This piece is fun and entertaining to listen. It got my whole attention without get distracted in any moment. And I love to do and see things like this in woodwinds. Keep working on it!

Now I understand why you had "Going baroque".

I love the charming little quintet! The melodies are memorable and easy to follow. The clarinet part especially is my favorite. I enjoyed the clarinet at :37 in the midi. Very catchy.

I wish I could give you some constructive criticism, but I don't know enough about counterpoint to give a proper critique. Nice work!

Thanks!

I only wish I could figure out what to do after that stupid D minor chord! I SOOO want to finish this piece, but I cannot figure out for the life of me where I should go next with it.

Thanks!

I only wish I could figure out what to do after that stupid D minor chord! I SOOO want to finish this piece, but I cannot figure out for the life of me where I should go next with it.

Well, it sounds like to me that you can sort of lead it into at Db major chord, though it's not exactly a 'baroque' move. On the larger scale, I was sort of wanting for a major section as the piece was in the minor mode most of the time. Contrapuntally speaking, you could also try inverting the melody at some point. Fun stuff though so far, I'm liking it.

Db major chord? Hmmm...that's an interesting idea. As you've noticed, the second theme isn't really Baroque in nature, so I'm not too worried about that. As for a major section, there's still time for that.

PS. I really want to make this the third movement of a three movement work.

It's almost amazing. I never figured that I would live to see the day that Beethoven's feeling was turned Baroque. I must say I'm in love. There is nothing that I could find to pick at in the Fantasy piece. As it is I feel it's fine. I only have to question what you used to study counterpoint. I want a copy ^_^. (Favorite part starts at :34 and runs till about :50)

@ Bronte Stars: A little on the short side. I didn't read carefully enough to see if it was finished or not. I like it though, can't wait to hear more.

Thanks! No, neither of them are finished. As for counterpoint, I guess most of my counterpoint has been learned from listening to/playing/singing contrapuntal music and noticing what it is that works. The only book I've really studied from is called "Music in Theory and Practice" (Volume 1), but it's mostly simple 4 part voice leading that you could learn anywhere. Whether it is fine or not, though, it needs to get finished so that I can get it performed by my friend's quintet! XD

PS. My favorite part is the same as yours, as well as the part at 1:09.

Edit: Oh, and what exactly did you mean about Beethoven turning Baroque?

Thanks! No, neither of them are finished. As for counterpoint, I guess most of my counterpoint has been learned from listening to/playing/singing contrapuntal music and noticing what it is that works. The only book I've really studied from is called "Music in Theory and Practice" (Volume 1), but it's mostly simple 4 part voice leading that you could learn anywhere. Whether it is fine or not, though, it needs to get finished so that I can get it performed by my friend's quintet! XD

PS. My favorite part is the same as yours, as well as the part at 1:09.

Edit: Oh, and what exactly did you mean about Beethoven turning Baroque?

Beethoven-typish music, but played mechanically like Baroque music is? >< I don't know to be honest haha. Very tired...

What I meant was that I heard a slight hint of Beethoven behind the baroque music. Chord progressions and otherwise, it was subtle but definitely there.

Ah, ok.

Don't know exactly what you quite mean of "after that D minor chord" in the MP3 it kinda flattens out (actually it feels like it's calming down) to the suspended chord.

It could just act as a bridge to a less contrapuntal and more pastoral segment of the movement. Maybe add a little bit of movement with passing tones or arpeggiations within those block chords, but I kinda like the idea of calming down to a Major pastoral passage. Then, seeing as how you want this to be the ending of a larger work, transition to a revisiting of the frenetic contrapuntal "baroque-like" segment and cadence.

Sound good, yes?

Also, yes what you've got sounds smashing good:P

Thanks! Haha, that's sort of what I finally decided to do, anyway. I'm still working on it, though.

checking the updated MP3 and PDF, you took a route I wasn't expecting (well, I'm not surprised our minds think differently! lol). The only thing tho is that measures 28-30 sound... weird. I see what you did there with modulating to a Major key, but m29 is iffy at best and horrid at worst. :huh: ...at least IMHO. That rather jarring chord change (the second half of m29 to be exact) is what's sounding weird. I haven't analyzed the progression yet, but maybe an alternate chord could be used on beats 3+4?

Really like that you modulated the main melody into Major :lol: Makes me happy all over.


Out of curiosity... that isn't the same block chord progression you had in the last posted MP3 did you? (wish I had saved that, damn).

Um...I don't think so. Why?

Yeah, that transition still needs a little work, but I'll figure it out. It's an augmented sixth chord because I couldn't think of any other way to get to an E7 chord.

I didn't notice this was just one piece (because there were so many things posted).

Anyway, this is a very nice piece. I know the form of fugues and the contrapuntal style, but I am DEFINITELY not well-versed or close to being fluent in writing in that style-- HOWEVER, this is quite a nice piece. I like the fluidity of the piece, but it is too early interrupted (my ear just felt like it "should" do that, but it wouldn't be a good thing) in the time hat opening line is repeated with the bassoon (I meant measure 8). I wouldn't have that long of notes; myself, I would move right into that new section so as not to feel the piece "stops" since every transition later is pretty fluid (seamless).

Other than that, I have nothing more to say. It's quite nice, and I'd love to hear where it goes, but I know how that can be where it just stops where it stops. Maybe make a ridiculous chromatic coda for two measures after where you currently stopped. XD Anyway, it's nice; if anyway, it was a good sketch for what it was. :)

Umm...that was REALLY confusing, but I think I might understand what you're saying. You're saying that at measure 8 you think there shouldn't be that rest/stop but rather the key change should be seamless, right? Actually, I agree very much; I knew something there was bothering me but I couldn't quite put my finger on what it was, and it turns out that that was it.

Yay! I finally finished my first draft! :heh:

Please note that I have lots of editing to do now. However, if you spot any errors in the sheet music and stuff, please tell me!

This is great! It's improved A LOT! The only thing that I would love to see more of is the flute. The high passages are really, really nice, but I wanted to see more! >< It doens't have to be dominant, but you could add some counterpoint in the flutes low register, so it isn't too loud but doesn't cut out the flute completely. STILL REALLY NICE!!

Congratulations for have finished your piece Deathrider!

Looking at the score there are just a few collisions that are easy to notice and fix. But don't forget to indicate the tempo of your piece, and to move the "p" of measure #21. Oh, and maybe to write 8va higher in measure 27, so the legato won't bother with the note of the other staff?

The piece is quite nice. Is not what I was expecting exactly, though. But I really like it! The only that feels weird in the piece are these two staccato notes the oboe do in measure 29, and the transition of measure 32 and 33. The flute playing before time is one thing I liked (0:34).

Fun Piece Deathrider! :)

Thanks!

Sheet music collisions aren't too big a deal right now because the most important thing is the individual parts (the quintet that I wrote this for is going to read through them tonight!!!). I like the staccato notes in the oboe there, so I think I'll just keep that. As to the transition at 32/33, it does sound a little funky. Any suggestions?

I think is the upper parts that is making it sound a bit weird. I like the harmony but when is playing with various lines seem to work different and makes the piece to lose its focus for that moment. What about re-working those upper parts by changing their starting notes or motions? or maybe to re-work the whole transition and use other progression that fit better? o_O

Otherwise, if you keep things in that transition in a mid-register (not going that high as you went) probably would create a better contrast when the flute plays at measure 35. Just an idea, since I see the flute already is high, then in the new section the flute still is playing high.

Edit:

It's Sunday here! Happy Birthday!

Also, in terms of the sheet music, m53 ... only two fermatas? Shouldn't there be one over each whole note not just in the flute and french horn? Other note, last two measures... there's a random "ff" for the clarinet before the "ff" in the held final chord. I'm guessing that should be just a "f", yes?

I like the finished product, but I wish there were one or two measures left out. Particularly m28-31, I actually liked that section better the way you had it before. Seemed a little awkward to my ear in this "final" version, like it was just purposefully drawn out.

Little quibbles aside, I really really like this quintet :)

The ff was intentional (because I wanted the clarinet to play louder than the rest). Also, I already fixed the fermata thing, but I must not have uploaded that version. I'm not sure what to do at 28-34...those measures are giving me grief.:hey:

Personally, get rid of those measures and just put measure 26/27 and (last beat of) 31 back together like they once were. They flowed really well into the key change.

Measures 32-34 work fine... it's just those in between 27 and 31 that would probably best be edited away. In case you couldn't guess I liked that section better in a prior iteration :P

OK, I just changed some stuff that should help (I don't know if I really fixed what you were talking about Nyu001).

Very nice job. I love this piece; it's one of your best works, Death.

One of my suggestions (from a performance-interpretive standpoint) is that I would like to see the time signature changed at the beginning to cut-time. This piece doesn't have a 1, 2, 3, 4 feel to it, rather it's more of 1..2.. feel, correct? Another place where it'd be good to change is at measure 31. A simple 12/8 would do the trick. When there's a section of triplets, and the noticeable feel is a "triplet" I will often make that color change more noticeable with the time signature. Why? Because I always incorporate triplets in a 4/4 [-esque] time signature to be misplaced. What you wrote in your score now is a color, and it's conflicting to what you really mean.

Another thing to notate (in terms of musicality) would be more phrase lines. It's great to have slurs and articulation, but you need to sometimes show how you want things to be shaped. Just an example would be at 39 (It's all over the place, but those parts especially are looking pretty naked). Thankfully, however, you wrote more lines near the end and around 21. ;) Again, why? Performers look at the score as a chef looks at a recipe. He needs to follow it as close as he can to achieve as close to the outcome as possible; if he measures incorrectly or even has an ingredient missing, it won't be the dish that the originator had cooked before. I am not trying to achieve a "purist" philosophy here, but I am telling you that performers will look at the score and take it more seriously than interpret it; especially in chamber music with parts that aren't really the melody. Everything must be shaped and must be just as importantly taken care of as the main melody.

Other than that, I don't have much else to say. Again, great work, Death!

That's an interesting point about time signatures. I'll look into that and decide if I like that.

As to phrasing, that's kind of a work in progress, still. Every time I open the Finale file I'm always adding more phrasing. However, how do I indicate a phrase without a slur (my Clarinet expert tells me that in lines with multiple types of articulation, a slur to indicate phrasing is not usually put in the music. Is this incorrect?)?

A slur is a slur. It can be regarded as "articulation." Phrasing has to do with how the music moves (shape).

(my Clarinet expert tells me that in lines with multiple types of articulation, a slur to indicate phrasing is not usually put in the music. Is this incorrect?)?

This is correct. Unlike piano music, winds music does not have phrase markings. Phrases are implied in the way the composer composed it and by its breathing points.

OK, so what you're saying is that I should use more breath marks? If not, then I'm not really sure of your point there Mazeppa.

I am not technically versed in writing for Winds as Dot is, but it's from my personal experience that players of any instrument need phrase marks. There should be NO averages in music and NO assumptions.

Really, Death, it's a matter of preference at this point. In a way, all of us are right. XD

Alright, after running this past Sir_Dotdotdot and my composition instructor, I think this is (for now, at least) my final draft. ^.^ I'll be submitting it to this (http://web1.dilettantemusic.com/content/digital-composer-residence-competition) contest sometime in the next couple of days.

Yay! One of your greatest works done! :)

Thanks! I try to get better with every piece.

My professor told me he thought I could have been more original in interpreting Baroque/Classical style, but I accomplished what I set out to accomplish with this piece, so I'm happy.

This is a really short piece I just finished for my composition class; our assignment was to write a very short motive and then write an entire piece based almost entirely on that motive. Our examples were 6 of Schubert's Waltzes. My piece is scored for vibraphone and marimba.

The only thing I'm still deciding is whether to have the notes rolled/tremolo, bowed, or just struck.

Wow, that was nice sounding. :heh:It's simple yet wonderful sound like that I strive for. Anyway, I'm not very skilled *yet* so I don't have much to say in the ways of critique.

Thanks! XD

I like that you did not keep the waltz feeling. The piece is sweet like a lullaby.

Thanks! Maybe I should reduce it to piano solo, though...lol I'm so indecisive!

I like it as marimbas. I thought it was really great.

oh, and tip. If you have the marimba use soft mallets, and have everything rolled, I will sounds almost like strings. Almost.

I should know that from my percussion techniques class but I don't remember anything about mallets...that's what happens when it's a 7:30 class! Thanks!

If you can find it online, listen to Michael Bump's arrangement of "Adagio for Strings." Its for 5 Marimbas, and it has the effect I just described.

Oh, I've definitely heard the effect before, I just didn't really think about the whole soft vs. hard mallet issue...:heh:

Will look soon! At school! ><

If you use hard mallets, it sounds a bit more "pingy." Which quite personally, I hate, but its your choice.

You should definitely look into mallets; asides from merely distinguishing them as 'hard' or 'soft', you should check out different mallets made of different materials. Softer rubber and yarn mallets are both considered soft mallets, but the two timbres are completely different. Also, if you're going for a more accentuated and pronounced hard mallet, make sure you remember that it is a possibility that you may scratch the instrument with louder strokes. Percussionists evidently don't appreciate their instruments damaged.

I really have notes on all of this somewhere, I promise! I just don't remember it off the top of my head. Thanks though!

I think I would choose yarn mallets if I were going to do this, with perhaps soft rubber on the "soprano" line, but in my experience percussionists are generally smart enough to know what kind of mallet they want to use on a piece (at least that's what my percussion techniques advocated), so I think I'll just keep it as "soft mallets" in the score to give them some freedom.

Hey! I listened now! It's pretty! I think you could do even more with the melody. Like even...maybe....even stretch it out over like 3 bars or something. Really augmented or something, but I'm just making up stuff really ahaha ><

Just a quick note. Your midi files ends on an Eb haha.

Good job! :)

I think that it actually doesn't end on an Eb, it just sounds like it does for some reason. Anyways, I can't stretch out the melody really because of the parameters of the assignment. Thanks, though!

It's fine haha! The notes on the page were fine, I think just the midi itself just...died...at the end. I've heard midi hold notes form the pevious beat or something for no reason, so I'm guessing that's what happened.

PS: Oh! I entered Electrnoic Whales into that competition. It actually fit the guidelines! ahaha.

Sweet! What was your "inspiration" that you said you would program?

Sweet! What was your "inspiration" that you said you would program?

Seeing Sachiko M and Toshimaru Nakamura use no-imput.

Sweet!

My instructor didn't like the marimba idea, so at his suggest I decided on Guitar. I actually really like it!

(I'm still not sure if I like the repeat at the end, but that was also my instructor's idea).

One problem:
Guitar can only go down to a low E. your going down to a D in some spots.
Other than that, It was fantastic.

Pfff...lame...

If I take it up a step it will be to high, won't it? XD Oh well, I'll talk it over with my instructor.

*double post*

Ugh...so I just told my composition professor he was wrong about some changes he made to my music. I don't know if I made the right decision. I guess I'll find out. Here's the version he sent me back. I told him I felt like he made it more "interesting" at the expense of the character of the piece...

note: guitars can drop tune so the top and bottom strings are in D instead of E. It's quite common. Don't know if your player has experience with it though (if you plan to have it performed)

Yeah, I looked up guitar ranges after Etaroko said that and saw that that was possible. I don't have a specific guitar player that is going to play this, but I have a guitar player in my composition class, so we'll see what he says.

Edit: Oh, and I just finished this short piano composition based off of a Schumann piece called "Solder's March". Hope it goes well in class tomorrow...

Mmm . . . the lullabye does sound pretty, and both yours and your teacher's edits have their pros and cons; I think that without the edits, it sounds sweeter, but with the edits, the half-steps give the lullabye more character. Looking @ the edited one, I would tie that G# in the beginning to the other one so the second one doesn't sound as jarring. I do love that G# though. I don't like how the phrase ends in a minor chord; your chord progression was sweeter and more calming. However, I did prefer your teacher's edits to the ending [the entire section between the repeat signs]. Such a beautiful part.

Keep it up! ^_^

In Eulogy I would give a further look to measure 18, the left hand. Unless you're an alien it's impossible to realize it as written I think. :)

In the Fantasy for wind quintet I must say that the overall result was fine but there is something that lacks in the overall counterpoint development and also in the tonality change. The bridge between those two parts could have been done better. In terms of polyphony it's fine, in terms of counterpoint it's defective. ;)

In terms of polyphony it's fine, in terms of counterpoint it's defective.

What on earth is that supposed to mean? I really am quite sure my counterpoint is not "defective"...

As for Eulogy, I can play it, and I am relatively sure that there are other people that could, too. I am certainly not an alien...as far as I know, at least.

What on earth is that supposed to mean? I really am quite sure my counterpoint is not "defective"...

As for Eulogy, I can play it, and I am relatively sure that there are other people that could, too. I am certainly not an alien...as far as I know, at least.

I hope in 5 years I will be able to make a post which does not require an explanation. :heh::heh::heh:

Fantasia.Counterpoint has strict laws in terms of compositions. This is true for the fugue but also for the so called free forms like fantasias. I mean your polyphonic use of the different instruments can be appreciate but it's not the same for the manipulation of the theme among the different parts. After you present a theme in a voice, this doesn't disappear completely but turns back once in a while with different procedures. Inventions and fantasias are all based in the manipulation of this first theme which originates the entire composition. If we're talking of baroque era music, your Fantasia does not follows the standards while it follows a good polyphonic feel among the different parts.

Eulogy. Can you explain it to me? on the first chord (B major I guess) I can put a 1,2,4 or even a 1,2,3 fingering. Then I should be able, following your composition, to hold B and D# (ties) with 1,3 and to play A# and G# on different octaves with 2 and 5. It' quite hard because I cannot use my left hand extension while keeping A# and B (1,2) to strike the G# key in the lower octave. You didn't put any kind of glissando and pedal cannot be used because of F# so I find it quite hard to play it unless we're talking of a huge hand extension like Cziffra. So the question is: how are you able to strike A# in this chord ( while keeping G#,D#,B ) ? :think:

I think Eulogy is one of my favorite compositions by you. I was just listening to tone colour and it's just beautiful. :) Can you give me the MIDI so I can put it through some good VST's??