Jonas Aras replied to Thomas Rack's discussion First completed piece for my latest large ensemble work.
"It is plainly obvious that the act of dominating complex modulations causes one to become contrapuntal.  Your Wagnerian influence is the concept of juxtaposing orchestral oppositions, which modulates chords and causes bitonality. It is always…"
May 9, 2012
Jonas Aras replied to Basil Joseph's discussion Twelve Little Piano Pieces (A compilation of my compostions)
"I listened to several of these pieces and they sound like they'd be fun for piano students to play and/or sight-read while being a little challenging as well.  "
May 8, 2012
Jonas Aras replied to Thomas Rack's discussion First completed piece for my latest large ensemble work.
"This work is, in short, a re-imagining of the 'professional-juxtapositions' school of contemporary 'pitch-class-perception' composition.This composition is the only one of its kind, due in part to the inclusion of highly-avant-garde…"
May 8, 2012
Jonas Aras replied to Minseo Park's discussion “Bach Arirang No. 1” - A Bach-inspired fugue based on Arirang theme
"It sounds like you have a good grasp on counterpoint!  I think I would have used a different combination of instruments, but otherwise it's excellent."
May 4, 2012
Jonas Aras replied to Sam Umar's discussion My music for cinematic scenes
"If you post the MIDI, I can import it into Sibelius and analyze this properly."
May 4, 2012
Jonas Aras replied to Sam Umar's discussion My music for cinematic scenes
"I wasn't referring to the trumpet sound, but rather your note choices.  At 0:20 (or measure 12) the trumpet is playing an E natural.  That note creates a b9 dissonance against the accompaniment that sounds horrible.  Professionals call that the…"
May 3, 2012
Jonas Aras replied to Oscar Jacobsson's discussion Some criticism please! :)
"You definitely have a natural feel for this kind of music. Now you can move on to another style!"
May 3, 2012
Jonas Aras replied to Allison Danielle's discussion My first orchestra piece!
"You are undertaking something quite ambitious.  How did you write this?  Did you used a notation program to sort out the parts?"
May 3, 2012
Jonas Aras replied to Sam Umar's discussion My music for cinematic scenes
"At 0:21 and 0;26 you have  trumpet (?) notes that don't work. There are other interval clashes, but those two instances were the worst.Your piece has no harmony in any of the orchestral sections throughout the entire piece. It's just a bunch of…"
May 3, 2012
Jonas Aras replied to Noah Fraioli's discussion "Black Keys for Zachary" for Piano in D-Sharp Pentatonic
"Here's an MP3 that I created from your MIDI file.BlackKeys.mp3"
Apr 25, 2012
Jonas Aras replied to Stuart Andrew's discussion Concerto for Clarinet, "For Eloise"
"One other quick observation; you use a lot of unisons and octaves in your orchestration. I would suggest that unless you are going for a huge full orchestra "Tutti" passage, I would limit the use of octaves/unisons to one section of the orchestra.…"
Apr 25, 2012
Jonas Aras replied to Stuart Andrew's discussion Concerto for Clarinet, "For Eloise"
"This is an ambitious undertaking.  The things that jumped out at me were that there are a LOT of repeated notes in every player's parts. I generally try to avoid that as much as possible as it takes away from the melodic/linear aspect of harmony.…"
Apr 25, 2012
Jonas Aras replied to Noah Fraioli's discussion "Black Keys for Zachary" for Piano in D-Sharp Pentatonic
"Why does the audio sound like it was recorded in a snow storm?"
Apr 25, 2012
Jonas Aras replied to Jonas Aras's discussion A Day In Paris
"Thanks for the kind words.  Good orchestral writing is all about the voice-leading and the melodic lines. It's more important than vertical  voicings.  I mess with triads a LOT even though it may not sound like it.
 "
Apr 17, 2012
Adrian Allan replied to Jonas Aras's discussion A Day In Paris
"Enjoyed and followed the score with interest - I also love those composers you mention.
I liked the independence of the cello and double bass - obviously part of the style.The counter melodies in thirds were simple but effective - as was all the…"
Apr 17, 2012
Jonas Aras replied to Kevin Bryson's discussion Can you explain why you wrote the notes you wrote
"I can explain why I wrote every single note I put onto the page. I have been trained in linear composition techniques whose basis is the overtone series, and I compose "one line at a time". With this as the foundation, orchestrating becomes rather…"
Apr 2, 2012
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