Music Composers Unite!
Hi, all. I didn't get back to the replies from my last submission and I didn't want to bump the thread, but thanks for the compliments and the advice. I always take both into consideration when starting the next project.
I've been wanting to experiment more with "not so pretty" compositions. I wanted to do something with more drama, more atonality, more chromaticism, more dissonance. Not sure how much of that I accomplished, but I was struggling with this a bit (I'm trying to develop an ear for it), and I feel a lot more confident after this piece. I want to write more of it now.
[NOTE: One of the suggestions I've been getting is about my dynamics. Notion really comes up short on this aspect. You have the dynamic marks and you have hairpins. There is no fine adjustment or control from note to note - unless you go crazy, which I have at times. Often, it's like pushing air bubbles out of a decal. I want one voice to come out a little more, I up it one click, it drowns another out. I go from pppp to ffff in almost every one of my songs. It just never seems to do it justice.]
Thanks for listening!
I suspect most composers into acute chromaticism and atonality struggle at times, don’t I know it. My ‘obsolete’ folder contains far more false starts, abandoned efforts than my ‘approved’ one. So I feel your pain there.
But you’ve achieved the aim you speak of.
Very nice. At first I thought it had a tendency to ramble but dismissed that, sensing it's down to notation software playing sounds. The way it unfolds is like many pieces written by Villa-Lobos. It doesn’t sound the least like him but its evolving is similar…through composed...sometimes difficult to work out what's going on. If you ever get a chance to listen to his Choros No. 6 or his Symphony 2 you’d hear what I mean. I have no trouble with this kind of work. You’ve combined diatonic-sounding tunes/phrases underpinned by dissonance; atonality and some chromaticism to produce a most listenable result. (The theorists would probably classify the different things you’ve done but I’m not one of them.)
It seems through-composed: could be my ears are deceiving me but the ‘content’ changed around 0’34”, 0’55”, 1’11”, 1’22”, 2’01, 3’13”. On first listen I thought the different sections lacked contrast but I was wrong. Most of my reaction came down to the point you mentioned: notation software and dynamics (it sometimes causes serious imbalance in the orchestra). It can make the orchestration blurry or thick (when actually the texture isn’t)).
I particularly liked the atonal turn of events between approx. 1’35” and 1’54”
Also the lyricism at 2’01” approx.
I’m never one for persistent drumming through a piece. Too many composers rely on a drumbeat to propel the work forward. Yours started around 0’30”but after 0’54” it was only intermittent so…fine!
The ending seemed a little abrupt and thin and maybe that can do with some re-thinking or a fade-out.
I listened to it 3 times in all, the second to pencil those timings and a third to hear through the software to what your score probably showed.
Altogether, interesting, engaging harmonies and instrumentation. An accomplishment in itself and It’s worth progressing along these lines, if you'll excuse me saying so.