Replies

  • Ann,

    Firstly, would you like me to download the Finale score and present on this discussion as a .pdf file?

    With reference to your music, I personally would have no objection to any of the "negative" points made about your music if it were mine (and believe me, I've had my share of negative comments). When Andrew described it as a 'joke', it doesn't necessarily mean that it is a bad 'joke'. I tend to agree that it does sound like 'several random mouse clicks' upon first hearing it, but Tim's right, the cadence-free harmony is one of the few positive aspects of this piece. Bob's assessment of the music being "excellent work" is exaggerated and not helpful, and I'm quite confused as to why he has taken some of the more 'honest' criticisms about your work on his chin rather than yours.

    But I would certainly encourage you to develop your style. When working experimentally, it helps if you have some sort of framework to abide by and a goal to aim for. When Schoenberg developed the twelve-tone system, it wasn't because he particularly wanted to invent a new system of composition. Keyless composition had already been invented and was already being written in total abandon. Schoenberg, who was already a master of traditional harmony and composition, decided that if composers were taking this route, then there needed to be some sort of method in which to abide by to ensure that one's music was in fact totally keyless.

    The style of your music isn't particularly original, but then again, nobody's is these days because everything's been done. However, it is yours. And if you wish to continue to write in this vein, it would be a good idea to listen to other modern composers that write like this, and develop some means of expression that, as Tim rightly says, provide an aesthetic attraction to other listeners.

    I hope this helps, and let me know if you want me to format your finale file and upload it here. I'm not going to do it without your permission.

    Ann Rodela said:
    Hello Tyler. I carefully read my instructions for Final, but I can't send it as a PDF. So, I will not be posting a PDF for this discussion, but I will try to find out how to do it for next time. :)

    Tyler Hughes said:
    Unfortunately I can not open that MUS. file.
    Do you have a PDF version fo the music?

    Ann Rodela said:
    Hi Tyler. Thanks for the positive critique. :)
    I will post the notation file (Finale) here. If you can't open it please let me know.

    Tyler Hughes said:
    Interesting indeed
    Kind of in a pointillism style, like Webern almost, but tonal.
    I would like to see the sheet music to really see what you are getting at. Only suggesting I would say is to loose the percussion, or refine them. They seem more of a distractions then being a part of the piece.
    My music experiment
    I am a newly hatched composer and posting this short piece of music I made with Finale software. Any thoughts? 
  • Simon--

    My assessment of the work was EXACTLY that..MINE..
    and I stand by it.

    Totally.

    I enjoyed the music very much for what it was, itself--and didnt listen to it with dated ears, or any prejudices., or any attitudes on my part.

    In short,SImon, the piece simply WORKED..and THAT is the yardstick, in my book to strive for.

    That should address that.


    And as far as my remarks not being helpful, well judging by Anns replies to me, you seem to be incorrect, and what SHE,as the composer thinks matters to me.

    Also, as for taking things "on my chin", Im lost as to what you mean-- the remark calling it a joke was in EXTREMELY poor taste, not necessary, and hopefully THAT will end that, also.

    And it was meant in the WORST way, Simon.

    Finally Im guessing that Ann used the word "experiment" as most composers would understand it--an attempt at something, possibly new to them. and NOT something aleatoric or random mouse clicks.The piece was composed with as much care as other composers might put into their work--

    and how anyone with ears could hear it as aleatoric is simply NOT understandable to me--It bespeaks of a non understanding and non familiarity with this kind of music , and only a fleeting grasp of the word itself.

    Finally Simon, providing an "aesthetic attraction to the listener" should be secondary, if included at all, to developing ones own voice, and writing whats pleasing to THEM.

    And since I enjoyed it, and Tyler seemed to also, Id say Ann ALSO succeeded with that, also.

    I think this should put this to rest..Ann has already replied, and the bottom line is that anyone can have their opinion, but it should be expressed civilly.

    You, and Andrew seem to feel that calling a composition, especially by a vulnerable new composer, a joke, etc is ok, and belittling the composer by such remarks and in that respect I feel your both sadly wrong, and Id suggest a rethinking, and reworking of this kind of attitude and a stop to this practice, in your attitudes, and in this otherwise fine forum,

    NO good will come of things like this.

    Again, my opinion Simon, and hopefully that should end this.

    Bob Morabito

    Simon Godden said:
    Ann,
    Firstly, would you like me to download the Finale score and present on this discussion as a .pdf file?
    With reference to your music, I personally would have no objection to any of the "negative" points made about your music if it were mine (and believe me, I've had my share of negative comments). When Andrew described it as a 'joke', it doesn't necessarily mean that it is a bad 'joke'. I tend to agree that it does sound like 'several random mouse clicks' upon first hearing it, but Tim's right, the cadence-free harmony is one of the few positive aspects of this piece. Bob's assessment of the music being "excellent work" is exaggerated and not helpful, and I'm quite confused as to why he has taken some of the more 'honest' criticisms about your work on his chin rather than yours.

    But I would certainly encourage you to develop your style. When working experimentally, it helps if you have some sort of framework to abide by and a goal to aim for. When Schoenberg developed the twelve-tone system, it wasn't because he particularly wanted to invent a new system of composition. Keyless composition had already been invented and was already being written in total abandon. Schoenberg, who was already a master of traditional harmony and composition, decided that if composers were taking this route, then there needed to be some sort of method in which to abide by to ensure that one's music was in fact totally keyless.

    The style of your music isn't particularly original, but then again, nobody's is these days because everything's been done. However, it is yours. And if you wish to continue to write in this vein, it would be a good idea to listen to other modern composers that write like this, and develop some means of expression that, as Tim rightly says, provide an aesthetic attraction to other listeners.

    I hope this helps, and let me know if you want me to format your finale file and upload it here. I'm not going to do it without your permission.
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  • Bob, I'm all for defending composers who have been wrongly criticised, but only when such comments are not warranted. When composers put their work up here for discussion, they do it with the full knowledge that other composers are at liberty to say what they like about the music, just as long as the composer isn't bullied or seriously insulted in anyway.

    Not only have you adopted the role (without Ann's permission) as her moral guardian, but you seem to have taken it to an unhealthy extreme. You are neither her father nor her PR agent, so why do jump down the throats of everybody who dare to utter one single criticism of this piece. You are also probably preventing other composers from making valuable comments without fear of having you to deal with in the aftermath. This is neither constructive or helpful.

    And if I'm not much mistaken, I'm not sure Ann would appreciate being referred to as a "vulnerable new composer" either. Do you know Ann personally? How do you know that she hasn't been composing for a long time, and has only now embarked on this new style (as an 'experiment')?

    I personally would be thoroughly displeased to be patronised in this appalling way.
  • WHOA!!

    Calm down Simon--your saying some unhealthy, irrational things here--
    Somehow you're really upset, and Ill try to ignore your outburst, and not respond in kind, though its warranted

    You've written about me not "being her father or PR agent"--all because I spoke out against someone who spoke wrongly, calling her hard work "a joke" and more??

    Unreal.

    And if you re read my posts, I NEVER claimed paternity, nor ANY contractual obligation with her--so my being her father, or PR agent are both only in your mind, as I never said it: ):)

    Does That clear it up for you?

    Thanks!.

    Now as to the rest of your post, Ill disregard most of it, and address your comments to my calling Ann a "vulnerable new composer", etc.

    Simon, please read this--I direct your full attention to the following remarks:

    I am a newly hatched composer and posting this short piece of music I made with Finale software.

    About Me:
    I'm an inspiring composer and have much too learn. Right now I am in the pupa stage. Wriggling, wiggling and learning<.>


    Now SImon, those were written by Ann herself..in this post, and on her page here.
    Didnt you read it when you read the post?

    This--Ann's OWN words CLEARLY supports what I said, about her being a vulnerable new composer-- so your tirade about it i again, incorrect., and I believe that about covers your reply

    I hope that you'll calm down, and not attack me. or anyone else, and put this matter to rest,
    or contact me offline, and Ill be glad to pursue this with you, and respond in kind.

    I dont think this kind of stuff also should be in a form--again, just my opinion.

    Ok, Simon?

    Bob Morabito

    PS It seems you want me to say its OK to call someones hard worked on composition "a joke", etc.

    ..well, it ISN't Gonna happen, Simon... EVer.

    Take it easy now.
    Bob


    Simon Godden said:
    Bob, I'm all for defending composers who have been wrongly criticised, but only when such comments are not warranted. When composers put their work up here for discussion, they do it with the full knowledge that other composers are at liberty to say what they like about the music, just as long as the composer isn't bullied or seriously insulted in anyway.
    Not only have you adopted the role (without Ann's permission) as her moral guardian, but you seem to have taken it to an unhealthy extreme. You are neither her father nor her PR agent, so why do jump down the throats of everybody who dare to utter one single criticism of this piece. You are also probably preventing other composers from making valuable comments without fear of having you to deal with in the aftermath. This is neither constructive or helpful. And if I'm not much mistaken, I'm not sure Ann would appreciate being referred to as a "vulnerable new composer" either. Do you know Ann personally? How do you know that she hasn't been composing for a long time, and has only now embarked on this new style (as an 'experiment')?
    I personally would be thoroughly displeased to be patronised in this appalling way.
    My music experiment
    I am a newly hatched composer and posting this short piece of music I made with Finale software. Any thoughts? 
  • Hi Ann--

    As this thread seems to finally be ending, Id like to once again tell you how much I enjoyed your piece. I've seen mention about "popularity" and a bunch of other stuff here, in this post, which I would hope you wouldn't let deter you, and youd keep on composing, in your own voice.

    There's a spark of originality there that I find missing in much of the music here, and feel you should mine it, nurture it, and never mind all the other stuff that went on here.

    Its the MUSIC that matters:, and It really was good to hear yours--

    Thanks again:)

    Bob Morabito
  • Hi Ann
    Well you've certainly caused a furore on this thread.....lol
    I listened to your piece with interest at first not sure what to think....... but it grew on me and I listened again. You do need to write what you want to write and I applaud you for that. I think it would benefit greatly from some post production reverb and a little EQ'ing which could give it more depth and fatten it. I disagree about the percussion (other poster) and think that with more percussion to bind it together and that reverb applied it would come together in a more rounded way. Keep at it.
    Sizzler
  • Hi Ray. Focusing on percussion sounds like a good idea. :)

    Ray Kemp said:
    ok Ann,

    Now, I ignore others' posts and just give MY opinion about your work here.
    I couldn't comment on "Experiment" in isolation so I listened first to the other cues you've posted on your page.
    IMO you certainly will not get a huge following producing this music but in your own words, your favorite composer is yourself so as long as you're having fun you don't need to concern yourself, except when soliciting my and others' opinions.
    You aren't a teenager at high school so I'm sure you can survive rejection.

    Ray

    BTW Maybe your music would work better if you used only percussion for the parts.
    My music experiment
    I am a newly hatched composer and posting this short piece of music I made with Finale software. Any thoughts? 
  • I am surprised that this post stirred so much passion. I do welcome all opinions. If I didn't want an opinion then I wouldn't post it.
    So thank you all for your sincere replies. :)

    I did add Wah effect with audacity software (freeware) and you can hear it at this stage.


    Andy Schofield said:
    Hi Ann
    Well you've certainly caused a furore on this thread.....lol
    I listened to your piece with interest at first not sure what to think....... but it grew on me and I listened again. You do need to write what you want to write and I applaud you for that. I think it would benefit greatly from some post production reverb and a little EQ'ing which could give it more depth and fatten it. I disagree about the percussion (other poster) and think that with more percussion to bind it together and that reverb applied it would come together in a more rounded way. Keep at it.
    Sizzler

    Experiment wah.mp3

  • Hi Anne,

    Here's the .pdf file as promised.

    Experiment.pdf

  • Thank you Simon!!!

    Simon Godden said:
    Hi Anne,

    Here's the .pdf file as promised.
    My music experiment
    I am a newly hatched composer and posting this short piece of music I made with Finale software. Any thoughts? 
This reply was deleted.