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At 10:47pm on November 30, 2011, Chris Dargay said…

Thanx Matt... been working hard on cohesion.

At 10:41pm on November 30, 2011, Rudi [Rudolf Schmitt] said…

Hi Matt, I had several listens to your "Water Potion" and like it a lot! Nice build-up with its medieval beginning with fanfare-like elements and drone (bourdon). And then the vocal/voice part that has somehow a science fiction like feeling. At least something like a synthesis. And it all has a Matt Le Mare touch. Great piece of music!

At 9:58am on November 29, 2011, Apolosius said…

Thanks Matt. Great music. I see some minimalistic construction..

 

At 1:19pm on November 28, 2011, Chris Dargay said…

Enjoying the melody of Water Poison.  Would love to hear just a lil' more counterpoint using another voice.  An Oboe/Rhodes/Organ etc. perhaps...  Cheers, Great Job!

At 5:11pm on November 26, 2011, Ann Rodela said…

Hi Matt.  I truly enjoyed listening to your Loook for Silence! It is pure joy.  :) 

At 10:26am on September 4, 2011, Paulo cesar Maia de Aguiar (Br) said…
Amazing works
At 6:30am on August 5, 2011, Kelly Dowhower said…
Nice work!
At 6:59am on June 24, 2011, André Ruiz said…

Hi Matt.

About "Le Sacre...", i am not saying that it is the same kind of piece but in several aspects of rithm develop remind me that... please don't misunderstood me.

Keep up the awesome work. If you need more opinions please, send a message.

 

Be cool

 

André

At 6:31am on June 20, 2011, André Ruiz said…

Hi Matt.

 

Your piece sounds great. At the beginning of it the first thing that came up to me was Stravinsky's "Le Sacre du Printemps", that horn rithm pace blast... then i see some minimalistic construction behind it and blocs of music, each one developing as one entity of their own. That permits me to see a well formal and structured piece. Well done, my friend.

This piece is done. No need to change, is awesome.

 

Now the next step for you is to find a way on next piece to develop some connection between blocs (if you made another piece on this manner) in a progressively way.

 

Be cool.

 

André Ruiz

At 2:43pm on April 4, 2011, Marie-Anne Fischer said…

Thank you very much for your positive and encouraging feedback Matt. Always nice to hear from you. Thank you for your advice as well. I will certainly keep it in mind when I work on new music to include natural pauses, that will be a good exercise.

Take care and best wishes,

Marie-Anne

At 7:21am on April 4, 2011, Portia Graves said…

Great music! Love the style, very cinematic and thought provoking. Thanks for the add!

Portia.

At 9:08pm on March 16, 2011, Doug Lauber said…
The parallel compression effect can be very subtle, if you blend in less of the compressed track. I use it on some individual tracks, and I used it on the drum sub-mix in Ostinato Trip.
At 3:35pm on March 14, 2011, Doug Lauber said…
At 3:28pm on March 14, 2011, Doug Lauber said…
Thanks Matt. It's too late to adjust the tempo. It is what it is. Maybe next go-round. I'll try to find that Katz link.
At 1:52pm on March 13, 2011, Marie-Anne Fischer said…
I liked my journey through your music and ambient sounds of 'My ears are going Ten to the Dozen' The end is classic! Nice combination of instruments in Recurring Dream especially with the vocals and I also like the rhythmic part in What do you forget? Incredibly creative pieces and I like the way you make the detail of sound matter. The still Centre and Five Rings especially made the individual qualities of the sounds engaging. It must have been so much fun to create - I like your new pieces Matt, congrats!
At 3:21pm on March 6, 2011, Ansgar Kreutz said…
Thanks for the nice comments to my music, it would be nice to have some more contact than only to it´s nice , it´s wonderful, I think it could be enriching to have more exchange about our music about the ideas to compose or to make music or to communicate with the people which are listinig to us - are you also interested?
At 7:24am on February 27, 2011, Andrew Gleibman said…

Thanks for the question Matt. I am an improvisor rather than composer, and combine everything from MIDI records of improvistion sessions. Some pieces are put together as parts of a single and long improvisation (e.g. 9-parts Mystical Suite). Usually I create recapitulations by reorchestrating some fragments and inserting accents and intrusions taken from other fragments. I almost do not WRITE music: everything is played. The advantage of this method is working with records of authentic emotions. I strive to employ many virtuosic piano elements, which I found very expressive. The disadvantage of this method is a difficulty to get a conventional performable score.

 

At 12:55pm on February 26, 2011, Ansgar Kreutz said…
Hello Matt, your music sounds very soulful, that you also are an improvisator likes to be congenial to may way to make music - I want more to see and to hear from your music.
At 10:42am on February 26, 2011, Simon Godden said…

I guess it depends on what you mean by 'linear'.  I suppose I can apply that certain 'adjective' to your music, as I do honestly feel that it moves forward (in its own way, of course).  However, with my music, I am a great follower of forms.  Not so much in the formal scholarly fashion, but more so with the tool of development, recapitulation and cyclic aspects.  If you were to listen to my symphony from beginning to end (not that I'm expecting you too, unless you have the time), you would know what I mean.  

 

When I was young, I always knew which parts of a movement I liked best, but of course, I never knew why.  The bits of classical (as in 'art' music, not necessarily from the Classical period) music that I did like had me sitting on the edge of my seat, and it wasn't until I started my musical education that the penny dropped, for me to find that it was always the 'development' section, or any kind of development that involved furious changing of keys and motif manipulation.  So I've tried to take it one step further and put a lot more 'development' in my music, than previous composers.  That's probably why my initial motifs are rather short or weak even (apart from 'Spirit of the Stour' which comprises a very long melody in question and answer form, but even then, I've still ensured that the development is by far the longest section in the piece.  It's probably the only piece where I've followed sonata form to the letter).

 

Cheers,

 

Simon

At 3:29pm on February 25, 2011, Ario said…

(still about "ears to the dozen")

 

All these messages in one piece! You seem to have alot to say... Really artistic work.

 

Do you actually write it out? The cell phones and conversations were intentional... (?) I hope!

 

Regards

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