Hiya, I like your piece, very textural. I would love to talk more with you about this piece =) What was your primary means of deciding what instruments to use over other instruments? What would you consider the structure of this piece to be (wheth...
*Tessitura - I just realized I accidentally said tessitura when I meant passagio in my previous post, which is ironic since tessitura is about the most comfortable part of the range, while passagio is about the "break" between chest and head voice...
Just a quick response back Kento. Regarding the singing of 'emotion' in measures 27-28, it is no longer a problem if you have made the rhythmic changes needed for the word 'leaking'. Now there is time for the singer to catch a small amount of brea...
Yes, I usually clean up the score after I get all the notes finalized for faster writing; I initially compose pretty fast/in perpetual motion so I try to go back to things that takes time after if it's logistical/not notes.
Thanks for the comment...
Well, there are some things in this piece that need fixing Kento that are obvious and you probably don't even need me to point them out, such as notes in the bass that go right off the piano keyboard or notational errors in the score.
The piano p...
Hmm...so I finished the basic outline for a new art song so I thought I'd post it here so far for critique/feedback. The voice writing and so on is trickier for this piece because it represents the darker feelings expressed in the text, but I don'...
I have an additional comment now that I've looked at the score (I hope I'm not overstepping my boundaries in critiquing here): This piece has a large number of exact repeats, that are varied upon through tempo changes. Early on there's a section t...
Well Anne, I'm not sure where's the best place to draw the line to officially call someone a "composer" myself (other than people who do it as a profession) so I'm not really sure. Personally I like this piece over other pieces I've heard so far b...
Yes, when I heard the recording I was a little shocked how well the mixing was; it makes the counterpoint in the piano more present, which I think adds to the vocal line if it's not too dominating, especially with the last stanza.
Thanks!! I like the two words you used to describe it, that was what I was intending on projecting as well (inevitably it creates a bit of a French sound). I struggled with whether the piano should be so present in the piece (on equal grounds with...
This is a really interesting one; yes, I've felt also that although Liszt does use a lot of interesting progressive devices for his time, his execution of these devices feel more gimmicky than intuitive with the flow of music, even compared to com...
What have you composed for? Or what medium do you work around?
film, web, multimedia, Choir, Orchestra, Small Ensemble, Big Ensemble, Other
What is your favorite genre or style of music?
Early RPG Music, Japanese Videogame music. The entire jazz movement, electronic music, early French baroque, Georgian (in Russia) Chant, Impressionism...
Is music your main income source?
No - Not Yet
Where do you live?
Princeton, NJ
About Me:
"When I was still in middle school, partially because English was my second language, I was terrible with words. My thoughts were intense, but I had no way to concisely communicate them.
Improvising on piano and composing music was just something I came to do out of necessity, because I could communicate better speaking through the sounds of music than with spoken words. Music is the language for expressing the unspeakable."
*Please feel free to send a message; I like talking to new people!
Hi Kento,
As usual, you have a very keen ear and you're half right about the decoration. It was not a particular reference to Bach (perhaps unconsciously?), but yes, its purpose was to align the listeners' ear to the imitation. In the following "section", when the first two voices present the same subject in melodic inversion (the third comes in with the un-inverted subject), I felt it unnecessary. By now, the listener should know what's happening, I thought. Outside of this exception, I tried to keep these pieces rather minimalist (in the general, not historical sense) and emphasize clarity over activity and effects, so there are very few decorations throughout. You've got sharp listening skills, my friend.
So far, I've just listened to the two posted here, and enjoyed both (Life and Original Piano Improv). I will listen to more throughout the week. Looks like you have quite a few on Youtube. Thanks for stopping by.
At 10:17am on September 8, 2009, Anne Goodwin said…
Hi Kento. I thought I'd drop by to say "hi." I'm curious about the conversation you posted about using cards as one way of going about the process of composing music. I'm not sure I quite understood what you were on about with that but at the same time, I haven't made time to study what you were saying. Perhaps one day when I have a few spare moments, I'll go back to that conversation to chat with you about it. I hope you have a very nice day - and thanks for stopping by! :) Cheers, Anne
Hi there,
glad you asked. It's a greek island. =) Its northwest of Greece and east of Sicely... Its a nice place with tourism and all in summer. As for the University is the best I think in Greece on the music deps, and maybe one of the finest in Europe. You could Google up Ionian University and also visit www.ionio.gr
You must have perfect pitch, because I had no idea how many Bflats are in American Songs. I'm a general impression listener in the absence of a score. My impression was an overall pentatonic feel.
Listening to your material right now, and very impressed.
Kento,,
Thank you for taking the time to listen and to make such intelligent comments. To be honest, I have no idea why that Bb is in that passage other than that it seemed to break of the impending monotony of the key.