Christopher Sahar replied to Lawrence Aurich's discussion "Cappricio" concerto for piano and orchestra.
"I am a pianist - check a recording of the Etude I posted which though there are mistakes I think I did OK for such a difficult work.

Well "pit stops"?   And fingering? No I am talking about quite basic things such as assigning notes to the left…"
Jan 19, 2014
Christopher Sahar replied to Lawrence Aurich's discussion "Cappricio" concerto for piano and orchestra.
"Uh, I thought this was a music dissection forum not an online therapy session. I am not a moderator but I think it would be nice if people point out specifically what could be improved. For example I know think the concerto's first violin parts at…"
Jan 18, 2014
Christopher Sahar replied to Lawrence Aurich's discussion "Cappricio" concerto for piano and orchestra.
"Ok, I reviewed the score and there are problems with this piece though you have some good germinal ideas.

AS has been noted the multiple voices in strings and cello have to be decided on - the cellos should be divisi or else you will have the…"
Jan 18, 2014
Christopher Sahar replied to Christopher Sahar's discussion Etude for Piano
"Hey guys here is a recording of me playing the Etude plus two easier pieces.  Yes I am a composer first pianist second. I hope to write more of these one day and give to a virtuoso pianist to play far better than I did. I hope it gives you a better…"
Jan 17, 2014
Christopher Sahar replied to Christopher Sahar's discussion Etude for Piano
"Ah no problem, probably one of my most accessible works I have written (excepting style studies) and I was thinking how would Gershwin write a Piano Etude. If you listen to Gershwin's Piano Concerto in F you might hear a lick a two I used in this…"
Jan 11, 2014
Christopher Sahar replied to Toperz's discussion First [almost] composition
"Okay, well you chose a nice ostinato - that is a repeating figure in the synthesizer to repeat. The added melody and countermelody given until 1:33 is nice but eventually meanders as you bring in another sound to add to the low bass and ostinato.  …"
Jan 6, 2014
Christopher Sahar replied to Stanislav Levchenko's discussion Some organ thing
"OK, learn the organ. There are plenty of pieces that can be learned on the organ. Do you know that the fine English composer Ralph Vaughn Williams wrote some excellent hymns based on Welsh and English folk tunes - or reharmonized older hymn tunes? …"
Jan 5, 2014
Daryl O'Buka replied to Christopher Sahar's discussion Memories of Dangriga for two Djembe
"Hi Bob,
Good to hear you had so much fun with the instrument, and your tuition. On your suggestion of twin mics, bottom and top, I've been there, and whilst it's not an entirely fruitless search, one can occasionally get close, it's problematic on…"
Dec 29, 2013
Christopher Sahar replied to Christopher Sahar's discussion Memories of Dangriga for two Djembe
"Thanks for the clarification Rob!"
Dec 29, 2013
Christopher Sahar replied to Christopher Sahar's discussion Memories of Dangriga for two Djembe
"Bob, before you read further, where or from whom did you study African drumming and are you still doing it? Also, I think some of the dissatisfaction might come from the fact the performance was in a large hall and the recordings is a somewhat…"
Dec 29, 2013
Christopher Sahar replied to Justin Hawley's discussion How to work full time as a composer?
"Well Taylor spoke of media composer there are other pathways.  First off there is a viable income to be gained from TEACHING!  Composers will end up doing a collection of jobs. Here are a few routes to consider:

Music Teacher (composition, theory,…"
Dec 28, 2013
Daryl O'Buka replied to Christopher Sahar's discussion Memories of Dangriga for two Djembe
"Hi Chris,
An Interesting expanation, and maybe you've achieved a first in writing this way for the instrument? Look forward to hearing the next one, and how you manage the dance element. Sounds fascinating.
I'm based in the UK in Nottingham.
Cheers,"
Dec 27, 2013
Christopher Sahar replied to Christopher Sahar's discussion Memories of Dangriga for two Djembe
"Thanks so much and yes I so agree that drumming needs to be in an intimate space with reflective surfaces. in the concert hall the bass does get a little lost in the reverb and longer delay. When I heard it in the smaller practice room the piece was…"
Dec 27, 2013
Daryl O'Buka replied to Christopher Sahar's discussion Memories of Dangriga for two Djembe
"Hi Chris,
Really nice to hear someone pick up on this instrument and place it in a context that brings the best from it. Traditionally (over here anyhow) the djembe is the drum of choice for the drum circle, where it presents an easily accessible…"
Dec 27, 2013
Christopher Sahar replied to Christopher Sahar's discussion Orchestration of Rachmaninoff's song Lilacs
"Thanks all for the comments. Bob yes I agree the spacing and alignment could be better.  As for dynamics, I was a little bit fussy to ensure a little bit of a swell in dynamics occurred.   Thanks for the comments about a 2. Also the con sordino idea…"
Nov 25, 2013
Keman replied to Christopher Sahar's discussion Orchestration of Rachmaninoff's song Lilacs
"Maybe "lyrical" is not the expression I was looking for. What I mean is that when I think of an instrument that reminds me of lilacs the horn is not the first one that comes to my mind.
In any case, I also wrote "personally". It's a choice, not…"
Nov 25, 2013
More…

Comment Wall

You need to be a member of Composers' Forum to add comments!

Join Composers' Forum

Comments

  • Sorry for the double post. It was past midnight and I didn't notice the little message that said, "Christopher Sahar has chosen to moderate comments." Please post, or don't post, whichever "comment" you prefer. They're much the same. Thanks for the feedback! Best wishes!
  • Again I stand naked before my peers here at the Forum. :) It is uncanny how several perceptive listeners have been able to detect what I myself consider to be the "flaws" (or should I say deviations from common practice) that I allow to remain in my pieces for various reaons (sometimes for no better reason than the perverse pleasure they bring me). As I listen to my attempt at Renaissance polyphony, what bothers me most is its undeveloped and fragmentary nature. Perhaps I shoud remove it from my playlist and finish it. However, that would involve work. Moreover, as a fan of Gesualdo, for whom chromatic passagework was something of a perverse pleasure, I fear that I may indulge too deeply in my fondness for stylistic deviancy. :)
  • Thanks, I think I will take a shot at revising Rhapsody Espanole. :)
  • BTW, I listened to Rhapsody Espanole again, considering your critique, and I think I see your point. Maybe in a future revision, I can create more tension before releasing it.
  • Volcano for Solo Organ--a rewarding listen! Innovative and interesting music making alternating between dramatic and colorful moments.
  • Your Introduction and Variations for Clarinet is an interesting piece in a more modern idiom with some very cool sounds. I always appreciate those who try to create music more forward looking its style. Keep up the explorations. A blog post explaning some of the playing techniques employed would be fascinating reading, in my opinion.
  • Thanks for your constructive criticism. I think that is the first time someone has given my music such a thorough hearing and critique. I appreciate it. Rhapsody is actually an unfinished sketch. After writing the Rose of Sharon, I was studying orchestration and looking for a piece I had already written that I could orchestrate. Rhapsody Espanole proved just the piece. Originally, I planned to fill out the harmonies and textures. However, the more I listened to the sketch, the more I liked it, so finally, I just posted it as is. My first thoroughly orchestrated work was In the Light of the Trinity. I may one day return to Rhapsody Espanole and rework it, as I would like to use it as the basis for a music video. Some of my friends are talented dancers and have expressed an interest in choreographing it.
  • Thanks for your nice words. The Vatar Unser is the final part of a full length opera, performed 7 times. The recording you heard is a life-recording. I will put some more of the opera on this forum.
  • Hey Chris! Thanks for the review on my page! Holy cow how awesome is your Duo for a couple of fiddles? Very! I love that raw performance!
This reply was deleted.