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- for midnight.

A break from chromatic music. Diatonic.

And NO MORE Italian instructions - promise! Except words already adopted into English, like "tempo".

Perhaps it could be developed to make it a little longer.

Thank you if you give it a listen.

Cheers,

Dane

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This reminds me of Sunrise Sunset from Fiddler On The Roof

Diatonic but what is that C# phrygian, ending on C# major?  I really didn't mind the Italian, this side of the pond needs to broaden our horizons.  Very nice though Dane, I could waltz to that, although I'm entirely lacking any waltz skills. Beautiful score, could use a key signature? I'm going to keep listening to this, I can't stop.

Eventhough this is not the style I usually listen to I can say that this little waltz is really very beatiful with these exciting harmonies and an exquisite sound quality. Very good, Dane!!

Hello all,

Apologies I haven't been back sooner to acknowledge these encouraging comments - my time has been taken up struggling with notation software. The sellers should give vouchers for free aspirin and codeine.

Harmonius, cheers but I've never heard/seen fiddler on the roof. The only fiddlers I know are in our government.

Ingo, many thanks for your generous appraisal but..Phrygian...? that's getting rather technical for my small brain. I heard about the Locrian mode from one of my fave composers, Peter Mennin and it does seem to have its uses. But I've looked up Phrygian now and see it starts on the 3rd degree of a scale based on the Ionian (major).  I'd thought I was using the augmented 6ths at cadences as these used to be a favourite, the German 6th especially.

Your comments on my score are gratefully received and suggest I'm making some progress at least. The engraving side of the software is wonderful even if note input and editing are an outright nightmare!

Again, thank you. Looking forward to new work of yours.

Gerd,

Thank you also for your comments, most appreciated and encouraging. It isn't a style I write in normally either but I like to keep in touch with the more conventional (and it cleans the slate of my noisy, abrasive stuff).  I post pieces here in the genuine hope that people will spot glaring problems that need attention so it's pleasing to learn when something goes well. 

Thank you.

- - - - -

May I also apologise for combining my replies into a single post. It's just that it takes up less space in the topic.

All the best,

Dane.

Hi Dane,

What can I say, just another superb little number. If you had an album, I'd buy it. I'll leave the detailed analyses and critiquing to those who actually have musical knowledge. But from your humble fan, I hope a few blunt compliments will do! Haha

The only thing of value I can say, however, is that a true accomplishment is to make fellow critiques fans and followers of your work. I am a fan / follower of your work.

Keep up the great work!

Hi Dane,

Ambient in the sense that the pulse of 3/4 time comes across more strongly than the melody, this piece seems to me to be effective. I had a distinct impression that it would be good music to walk around inside a dark haunted house to -

Thanks for sharing!

Gav

Hi Dane,

Beautiful.  Thank you for sharing.

It is still a mood music.  Good material to think about.

It is melodic but not completely romantic to me.

It has a sense of wit (to me).

Ye it could be a bit longer, maybe 15 sec more...

Congratulations.

Ali

Note: I appreciate the availability of the score.  I need to improve my music ear.

Had to come back for another listen! Flamenco uses phrygian mode, a little mid eastern vibe with some 1/4 tones here and there too, not much for waltzes though. You're on beyond phrygian here though I think.

Everybody talks about work flow, hard to have a good work flow when learning all the oddities of notation software. I started with something called Genie soft years ago, kind of got used to that and funky general midi sounds too, ouch!  Well it's either that or StaffPad, hard to justify like you say unless you need a tablet for other things, rolling spliff maybe?

I'd like to post some music but I've got 14 cakes in the oven and nothing ever gets done. Time to turn up the heat I guess.

Too bad that waltz lady hasn't been around, she'd love this!

One of the wonderful things about this piece is how you achieve the desired effect with such economy of means. I could almost imagine Webern writing a tonal waltz and coming up with something like this !  I particularly liked the oboe and bass clarinet section in the middle.  Very effective !

Hi Dane,

On your difficulty in using the notation software;

epistemology is important.  How you approach the problem in order to solve it.

I understand that you try to test different softwares and then choose one of them.

The problem is you may not be fluent enough to evaluate this type of tools.

I would suggest a free software like MuseSCORE and get good in using

any notation software and then get to the stage of choosing a professional one.

Also, when you begin working on a software program, I would suggest first

read/scan/skim its complete references.  First learn what information resides

where and how to retrieve that info.  First learn how to get help, for example

MuseSCORE community provides almost instant help when you ask for.

etc. etc. etc.

Last but not least, the facility to insert measures, instruments, voices or delete,

or move them is fabulous in notation software programs. Also transpose and other musical

processing...

I hope I have not been too verbose.

Cheers.

Ali

Dane Aubrun said:

Hello all,

Apologies I haven't been back sooner to acknowledge these encouraging comments - my time has been taken up struggling with notation software. The sellers should give vouchers for free aspirin and codeine.

Harmonius, cheers but I've never heard/seen fiddler on the roof. The only fiddlers I know are in our government.

Ingo, many thanks for your generous appraisal but..Phrygian...? that's getting rather technical for my small brain. I heard about the Locrian mode from one of my fave composers, Peter Mennin and it does seem to have its uses. But I've looked up Phrygian now and see it starts on the 3rd degree of a scale based on the Ionian (major).  I'd thought I was using the augmented 6ths at cadences as these used to be a favourite, the German 6th especially.

Your comments on my score are gratefully received and suggest I'm making some progress at least. The engraving side of the software is wonderful even if note input and editing are an outright nightmare!

Again, thank you. Looking forward to new work of yours.

Gerd,

Thank you also for your comments, most appreciated and encouraging. It isn't a style I write in normally either but I like to keep in touch with the more conventional (and it cleans the slate of my noisy, abrasive stuff).  I post pieces here in the genuine hope that people will spot glaring problems that need attention so it's pleasing to learn when something goes well. 

Thank you.

- - - - -

May I also apologise for combining my replies into a single post. It's just that it takes up less space in the topic.

All the best,

Dane.

Again, may I be excused combining replies into a single post? That notation software nightmare never ends, dealing with the fact that it falls apart while parsing an xml and can't cope with some unknown error - more below.

Thank you all for listening and commenting. Always genuinely appreciated.

Gav,

An interesting comment. It felt very midnight in a huge atrium while at the piano. It was reminiscent of a the mood in a film that got to me utterly when I was a bit younger -still does - Last Year at Marienbad, with its subdued soundtrack almost all organ, set in a chateaux. Resnais' restless camera wandering through this surreal imagery, a story without a beginning or end...anyway, it surfaces from time to time and sends me into some astral condition to componse!

Ali,

Thank you. I suppose it's a bit about alone-ness, even a waltz - two people without attachment or perhaps just one standing on a wide staircase at night pondering a waltz. It could have been longer...

Sahir,

Thank you for listening and your kind comment. I prefer writing for smaller resources and it's something I'm returning to, having just completed a moderately large orchestral movement with two singers. I try to find less conventional ways to score something and have a particular thing about the bass clarinet often requesting it in preference to a bassoon.

So thank you again for your encouragement and the generous comments. 

 

Dane, I think the idea of using bass clarinet instead of bassoon is very refreshing and effective. I actually had the opening theme of your waltz in my head today when I woke up. One way to measure the success of a piece is how much a listener wants to return to it. I think you've definitely succeeded here.  And, you mentioned "Last Year in Marienbad" in your response to Gav.  That's one of my favourite movies as well :) ( and what haunting organ music ! ).  

Dane Aubrun said:

Again, may I be excused combining replies into a single post? That notation software nightmare never ends, dealing with the fact that it falls apart while parsing an xml and can't cope with some unknown error - more below.

Thank you all for listening and commenting. Always genuinely appreciated.

Gav,

An interesting comment. It felt very midnight in a huge atrium while at the piano. It was reminiscent of a the mood in a film that got to me utterly when I was a bit younger -still does - Last Year at Marienbad, with its subdued soundtrack almost all organ, set in a chateaux. Resnais' restless camera wandering through this surreal imagery, a story without a beginning or end...anyway, it surfaces from time to time and sends me into some astral condition to componse!

Ali,

Thank you. I suppose it's a bit about alone-ness, even a waltz - two people without attachment or perhaps just one standing on a wide staircase at night pondering a waltz. It could have been longer...

Sahir,

Thank you for listening and your kind comment. I prefer writing for smaller resources and it's something I'm returning to, having just completed a moderately large orchestral movement with two singers. I try to find less conventional ways to score something and have a particular thing about the bass clarinet often requesting it in preference to a bassoon.

So thank you again for your encouragement and the generous comments. 

 

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