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Attached are "Vst-Performance" and a pdf-score of the music...

This is my second attempt at writing such music (first one being for string orchestra), with tuition from my teacher, on how to "imitate" the style, that e.g. Schoenberg had in mind.

Also, I kept the horn part minimalistic on purpose - leaving the (imaginative) horn-player time to breathe between the many forte and fortissimo parts...

What worries me a little bit more, is that I broke the rule of keeping the same order of the 12 notes, skipping some in a few phrases and adding them after the incomplete row was finished... or simply dividing the row into three parts and writing them harmonically...

If any skilled composers know more on this topic, please give me hint ; )

I know, it's not every person's cup of coffee, but I'd really like some opinions on this piece.

Greetz, Ario.

P.s.: Many of you have given me great tips on midi-engineering and related topics. Though it is very much in my interest to follow the given instructions, I feel that the priority should lie in composing and not optimising one's audio files...
So, excuse me, if I've been a bloodsucker for almost nothing - and I hope you (especially Andrew Gleibmann and Ray Kemp) understand.

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Nice to hear (that you enjoyed it) ... by tommorow, I'll see my teacher again, so he will help me on that...

The problem, I realise only now, seems to be: A very well educated musician would have to help me on this - and most of them are occupied to their bones.
I seek for more opinions, than only my teacher's anyhow - although he has often proven to be a very good (and knowledgable) tutor.

The point is: A perspective of things can be strong and positive, but a second one will make the first even better ;)

Thanks again for listening, Ario.

Thomas Green said:
I really like it, Ario. The dynamics and the contrast between quick movement and pauses will work excellently if the performers are accomplished.

(In my opinion that's the best thing about 12 tone stuff - the latent drama. A lot of people outright dislike it, but even now this sort of music is used for its atmospheric invocations in film, tv and elsewhere, like it or not).

But I haven't got time to analyse your serial technique. As you'd know, that's quite a time-consuming task :) The one thing maybe to remember next time is that the horn can be dramatic in it's very low range: anywhere up to 2 (yes 2!) octaves below it's written middle C (obviously the lower you go the more extreme a technique it becomes).

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