Emily Bond's Comments

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Greetings Emily,

I like your music very much. Nocturne is very beautiful. Nice chord changes. Thanks for sharing.

Very best,

Larry Elliott

Better late than never - I use Ilio Entertainment's "Symphony of Voices" - it has lots of choral venues. "Spectrasonoics" may be another name for this.

Thanks so much Emily. It's always nice to get encouraging words from you, as I really respect your opinions and enjoy your thoughtful comments. This is the first piece I've finished since making the transition to Sibelius a few months ago. The piece is written in Sibelius using EWQL Symphonic Orchestra Platinum, I exported the audio from Sibelius three times, first using the close microphone positions in EWQL, then using the close mics, then the surround mics. I then mixed the 3 tracks in Sonar into a combined audio track and applied some compression. I also used an English Horn instead of an oboe, because I'm not very happy with the EWQL oboes (too bad - I love the instrument). I'm looking forward to listening to more of your work. Happy New Year!

Hi Emily

Thanks for listening to my PIANO CONCERTO - Mvt1 and for your comments.  I am obviously pleased you liked it and hope you have the time to listen to the other 2 movements

Hi Emily, I think "Ancient One" is a lovely work - especially the counterpoint.

For me atonality is quite not the correct description though it is also a part of humanizing..

Both free and strict atonality contribute to humanization. There are certain involuntary aspects in music those get lost when composers rely more on computers. ( Now we do have algorithms to impart humanization. that is different). incorporating those involuntary aspects into our compositions is what I call humanizing. A simple example is this.. 

When you play piano, not all notes are of the same velocity. Those variation in velocity and sustenance makes it real!! This is what is realism. This is what is human. If all notes are of same velocity then that would seem robotic and unreal. 

In certain cases, unlike pianos, we might have to impart these human aspects. And that is what is called humanization. this is my idea. I would like to know how you differ or agree upon this... Awaiting your comment...

   "Lament" is a very restful and lyrical piece. I really like how all four voices weave in and out together. I also enjoyed the haunting flute during the middle section (1:40). Beautifully done.

   "Weird Waltz" begins with wonderful melodic interplay of the 2 flutes. The piece appears to have 3 sections, followed by a repeat of each. I wondered whether the piece could be sharpened by having the 2nd part be more of a contrast to the others.

   "Soaring" is one of my favorite pieces. The first theme is beautifully done, haunting and somewhat medieval, the repeated with a rich harmonic background. For me, the pinnacle is reached starting with a new theme at 1:01. It builds to a beautiful resolution at 1:13. Great music!

   I especially enjoyed the structure of "Ancient One". The contemplative initial theme, piano shadowed by cello, is very moody and somewhat dark. Then, at 1:35, the second theme ripples in softly, transposing me to a more hopeful, still emotional, mood. I liked how the intensity built in waves. The repeat of theme 1, after the contrast of theme 2, created much more meaning. Very well done!

   "Shape Shifter" has to be my favorite. I love the intensity of the rhythm and the mysterious air it provokes. It is reminiscent of a Hitchcock film.

   "Lonesome" reveals your influence from Satie. Beautiful and haunting first theme, then a very nice 2nd theme with oboe (and guitar?) with a nice interplay of flute at 1:35.

   In all these pieces it is evident that you are a wonderful pianist. Even though piano is not necessarily a lead in all pieces, it provides a strong underpinning to all. At the same time, all your melodies are very lyrical and enjoyable , while the harmonic textures are rich. You're a gifted composer - I enjoy all that you write.

Hi Emily. Thanks for your very supportive and generous comments about "Frankenstein at the Dance". Your suggestion about breaking it up into a suite of dances is a good one. However, I'm in this somewhat intractable frame of mind where I've intended this piece to be in "semi-scherzo" form, the results of which may be questionable. I've ended up with A-B-A*-C-A. As you've probably guessed by my cryptic naming of the last 2 pieces, I'm in the middle of composing a second symphony. "Frankenstein" is intended as the 3rd movement. Thanks for listening and thanks for your kind words. I've been listening to all of your uploaded works lately and will be commenting on them in a little while.

Hi Emily,

I like "Lament" very much. Interesting harmony and scoring. Also I think it best that if one wants a live performance it is wise as you suggest to get actual performers on the instruments one wants. Personally,I have learned over the years to try not to use midi and samples as a surrogate. In my little world electronic is an idiom all to itself.

I do wonder about the title. The piano lines to me sound decorative in  a beautiful manner. I think "Lament" is a wonderful atmospheric lyric piece of writing. I wish you the best with this fine work in progress!

Hi Emily:

I just listened to "Lament" and love it! Gorgeous harmonic textures in a very picturesque setting. I'll listen to it more over the weekend and give you more in-depth feedback.Good work! A beautiful piece.

Bob Hunter

Thanks so much Emily! As for learning orchestration: trial and error and the help of Rimsky-Korsakov's guide to orchestration. So much to learn about how these instruments can blend.

As to what sound programs I'm using: I'm composing using Geniesoft's Overture (I've purchased Sibelius but haven't started using it yet), and am using East-West Symphonic Gold samples for most instruments, with the exception of piano and snare drum, which are from Garritan (GPO4). With regard to reverb, I have "St. Mary's Hall" reverb turned on for the East-West woodwinds and brass, "EW Hall" reverb for the strings, less reverb for harp, piano and snare as they would otherwise get muddy.

In this draft version, I exported the composition out of Overture as a combined Wav. file, then used (Adobe) Audition (similar to sonar, which I recently purchased, but again, haven't started to use it yet) to convert to MP3 for uploading.

When I finalize the piece, I hope to work in sonar to tweak all the parts separately, then do a final mix, but that may take a while.

Again, thanks for listening and providing kind comments.

Bob H