Greg Brus replied to Dane Aubrun's discussion Clouds - impressionist piece for small orchestra.
"I think I would double up on that last chord somehow, still. The whole piece floats this way and that at a very slow pace, if you want to wrap it up then the wrapping also needs some time to sink in.
Excellent work."
Oct 22, 2019
Greg Brus replied to Charles Holt's discussion Cello high range limitations
"Psh. The main risk of writing so high is that the performers will simply fail to hit the correct pitches. But the very high fragments in Ali's piece aren't a sublime melody that requires precise intonation, they're an ugly shred at a somewhat fast…"
Sep 24, 2019
Greg Brus replied to Gavin Brown's discussion Spies! for Orchestra
"Well, it was already in an easy key for the bassist, so you didn't need to move it for him. But couldn't you? You could've said that each key has a different effect on your ear and that you want it in Db, because. And if he complains, grumble…"
Sep 6, 2019
Greg Brus replied to LeviathaninWaves's discussion Trying to wrap my head around some composition techniques.
"The easiest answer to the initial question ("how do they come up with this stuff?") is that they don't. They simply figure out some basic methodology, which by the way you seem to have reverse engineered with enough accuracy to make use of it…"
Aug 19, 2019
Greg Brus replied to Rodney Carlyle Money's discussion The Emperor’s Enchanted Box of Yin and Yang
"Nice and sweet.
I wonder, where do you think the idea for the form comes from? It sort of feels like it's wrapped up two thirds in, and then there's an after image or an echo. I remember Meditation used something similar."
Aug 18, 2019
Greg Brus replied to Gavin Brown's discussion Spies! for Orchestra
"Writing for musicians vs writing for notation software :)
Although I agree with the remark about letting the drummer do their thing. Just give them a good idea of what the groove is about, and they'll fill all the ghost notes and other juicy bits…"
Aug 18, 2019
Greg Brus replied to Gavin Brown's discussion Spies! for Orchestra
"This is great but personally I would do something about the incessant snare drum. Perhaps it stands out so much because there's very little other percussion (bass drums don't count :) ). I don't know, steal some texture ideas from John Mackey or…"
Aug 17, 2019
Greg Brus replied to Jon Corelis's discussion Sabrina Fair
"That 13-14 dissonance might get messy in live performance. What you could do (and I think it won't sabotage the music, this kind of gentle flowing seems to be the intent) is push the flute a quarter note to the right on the dissonances, so: A = a…"
Aug 4, 2019
Greg Brus replied to Ronald Fontenot's discussion "Run!" Piano Composition featuring Pan Flute and Big Ben Bell
"Breathe some life into the piano. The patch seems good enough (though I can't hear how velocity layering is set up) but it sounds robotic because every note is perfectly positioned on the grid, both start and end, velocities are repetitive and so…"
Jul 27, 2019
Greg Brus replied to Markus Stone's discussion Effective spotting
"You might be able to get away with what looks like mickey mousing if it's only implied, not perfectly synced.
Personally I would probably try to soften the impression of going all over the place by dedicating the changes to specific musical elements…"
Jul 27, 2019
Greg Brus replied to William Lindvall's discussion Microtonal harmonic chart for strings
"Yeah, this is correct (assuming treble clef, obviously). And it's indeed easier to pull off up there, I just checked on my violin. Theoritically, you can use any node that matches the partial, so, since this is the 7th, every 1/7th of the string.…"
Jul 9, 2019
Greg Brus replied to William Lindvall's discussion Microtonal harmonic chart for strings
"If you want the sort-of-F on G string, it's the 7th, so two octaves plus a slightly flattened minor seventh above the fundamental (it's not exactly quarter tone flat, more like a 1/6th).
As for where to look for all of them, you can generally just…"
Jul 8, 2019
Greg Brus replied to Gavin Brown's discussion Orchestra Sample, Feedback Sought
any percussion will add color, percussion is the most colorful group by far :) The key is to be able to imagine what kind of color enhancement you want where, then you can try matching instruments until something clicks. Because the…"
Apr 11, 2019
Greg Brus replied to Gavin Brown's discussion Orchestra Sample, Feedback Sought
"Gav, it will depend on what you mean by functioning "somewhat like" that drum kit. What I hear in that link is mostly the drowning out of half the orchestra. Not usually the desirable outcome in my book. Drumkits have a lot of punch and presence."
Apr 10, 2019
Greg Brus replied to Gavin Brown's discussion Orchestra Sample, Feedback Sought
"No matter how you build your violin, you aren't going to delete the laws of physics. Sound from a fingered note propagates, and open strings vibrate in reaction to outside sound that matches their spectrum at least to some extent - the better the…"
Apr 9, 2019
Greg Brus replied to Gavin Brown's discussion Orchestra Sample, Feedback Sought
"Correct, but I meant the resonance between a fingered note and the rest of the instrument. Some notes resonate very strongly (a G in any octave, for example), others not so much. A key with many accidentals will force the player to stick to notes…"
Apr 8, 2019

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  • If march of the damned was leading into another piece? I find myself wondering... How powerful and explosive would THAT piece be, if this is the intro? Sort of thing that makes you shiver, wondering.

  • Hi Mr Bros...

    I never forgot your advice, for me to try 5/4 time for something different? I am not here much, but, when I popped in just now... I HAD to listen to a piece of yours... After all, this is the guy that I remembered "sounded like Holst" after all..

    March of the damned...I REALLY LIKed it. it has a number of "things" I like in music. Heavy sound, ominous. I liked the "tension" around 1:10 or 1:20 or so... Overall, it gives you the sense of something big and heavy, rolling, and it can't be stopped.


  • I'm listening to your music again and again. It's really great!

  • I really like your work. A lot of people have commented on it, but "The Merchant's Refuge" in particular is superb.

  • hey Greg...Trololol

  • Ii just listened to your "Merchants Refuge".  I really like the percussion ostinato you have.  It set a great mood for the entire piece.  The whole piece was very well done!

  • I owe you a deep debt of gratitude, Mr. Brus...

    you seemingly simple suggestion to try writing a piece in 5/4 time? Well, thanks. It allowed me to get lucky and make the first "big" piece i ever made in my life. Thank you so much... what was that other time signature you reccomended? 7/8 ? next time around I'll play with that one... THANKS!

    MAN, whatever it is these polish music schools are doing, they need to show the rest of the world how they run their schools... you are amazing...
  • Wow... is that you playing the piano? Its *really good*. If you programmed it, I'm just as amazed... it sounds beautiful.

    Your first composition, sounde impressive to me... i think this is you playing the piano, and its impressive... I can only think its a combination of talent, long work, education...

    ... and if you ever compose big film scores here in the states? I dont want any money... but I would rather enjoy being allowed to sip an apple martini at the poolside, everyone wondering why I'm there, lol...

    I'm impressed.
  • Hello,Mr. Brus... or, as I think of you "Holst Jr", heh heh

    If you click around on "My page" or the quick-add menu stuff... you can add some of your own tracks to your MyPage here. That way when someone comes here after clicking on your picture, they can hear a few pieces your working on... typically, they will leave you a line or two worth of comment...

    Your composition was a joy to listen to, very thrilling.
  • Welcome to the Composers' Forum
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