Matt Le Mare left a comment for Apolosius
"Thank you Apolosius for you comments. I also think that you music is great, Your music must be popular and benefit lots of people. I do like minimalistic construction, but also want a provide a way in to what some people find more challenging…"
Dec 1, 2011
Matt Le Mare left a comment for Chris Dargay
"I must say that your compositions have developed since i heard them last! Fantastic rhythm and harmony..."
Nov 28, 2011
Matt Le Mare left a comment for Chris Dargay
"Chris
Thanks for the comments on Water Potion. More counter point would be interesting. The piece has been flexably scored so it only really has three parts (for any instrument) + percussion, but this would certainly be something I will consider to…"
Nov 28, 2011
Matt Le Mare commented on Matt Le Mare's blog post New Compositions
"Thank you for the comments. i think the long note is a midi glitch. It sound out of place to me. I've had a listen to some of the music on your page. It seems full of character, a real mix thats crafted extremely well.
All the best
 
matt"
Nov 27, 2011
Ann Rodela commented on Matt Le Mare's blog post New Compositions
"Hi Matt.  I did enjoy listening to your Loook for Silence.  It was very good and a well developed piece, but my only beef with it was that the one very, long note seemed a little bit too long.  (It might be a small quirk of mine)
I posted my latest…"
Nov 26, 2011
Matt Le Mare posted photos
Nov 8, 2011
Apolosius replied to Matt Le Mare's discussion Comments Most Welcome
"thanks Matt. I've listened to that composition. I like your music that should be accompanied with movie or soundtrack film."
Aug 26, 2011
Matt Le Mare left a comment for Kelly Dowhower
"Thank for the postive comment. Prase in deed. Really enjoying your music.
 
All the very best
 
Matt"
Aug 5, 2011
Rudi [Rudolf Schmitt] commented on Matt Le Mare's blog post Comments Most Welcome
"Hi Matt,
I'll have to have more listens, but what I can say at the moment: it was a good idea to put the "popular" theme at the beginning and to use it like a bracket. Some silences between parts seem to me a bit too long. I'll come back later.…"
Jul 4, 2011
Matt Le Mare commented on Matt Le Mare's blog post Comments Most Welcome
"Rudi
 
I got a new version of Brother Rain Tin and Sister G on my profile. Your comments would be most welcome. I think I've taken on board what you said last time. It was interesting how you seemed one step ahead of me!
 
All the best
 
Matt"
Jul 2, 2011
Matt Le Mare left a comment for André Ruiz
"Andre
 
Thank you for your comments. i understand, it's my own voice but is similar to other composers. I've had to think about this and you mentioning it has been useful. I guess a truly original sound is hard to find, one that maybe should be be…"
Jun 25, 2011
Rudi [Rudolf Schmitt] commented on Matt Le Mare's blog post Comments Most Welcome
"Hi Matt,
let me know, when you have a new version!
Cheers,
Rudi"
Jun 24, 2011
Matt Le Mare commented on Matt Le Mare's blog post Comments Most Welcome
"Rudi
 
Many thanks. Leave this with me. I've been thinking along similar lines my self. Thanks for the time you've spent on this....
 
All the very best till next time.
 
matt"
Jun 23, 2011
Rudi [Rudolf Schmitt] commented on Matt Le Mare's blog post Comments Most Welcome
"Hi Matt,
I had other listens and identified six parts divided by longer pauses:
0:00 to 0:33 A1
0:37 to 0:54 A2
0:56 to 1:22 A3
1:25 to 1:57 A4
2:03 to 2:29 A5
2:33 to 6:53 A6 + B (?)
Some unsystematic thoughts:
All parts start with that somehow…"
Jun 22, 2011
Matt Le Mare left a comment for André Ruiz
"Andre 
 
Thanks for the positive comments and grappled with a decision to work progressively. I'm playing with adding more randomness to my compositions. I really do feel that likening my music to "Le Sacre du Printemps" was not justified. I hear…"
Jun 21, 2011
Matt Le Mare commented on Matt Le Mare's blog post Comments Most Welcome
"Rudi
 
Half the feedback I've had says that the different sections are too different to work together. It's encouraging that you think that the piece could be doubled in length as i think I could justice the sections that way. An area I think I need…"
Jun 21, 2011
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Comments

  • Great music! Love the style, very cinematic and thought provoking. Thanks for the add!

    Portia.

  • The parallel compression effect can be very subtle, if you blend in less of the compressed track. I use it on some individual tracks, and I used it on the drum sub-mix in Ostinato Trip.
  • Thanks Matt. It's too late to adjust the tempo. It is what it is. Maybe next go-round. I'll try to find that Katz link.
  • I liked my journey through your music and ambient sounds of 'My ears are going Ten to the Dozen' The end is classic! Nice combination of instruments in Recurring Dream especially with the vocals and I also like the rhythmic part in What do you forget? Incredibly creative pieces and I like the way you make the detail of sound matter. The still Centre and Five Rings especially made the individual qualities of the sounds engaging. It must have been so much fun to create - I like your new pieces Matt, congrats!
  • Thanks for the nice comments to my music, it would be nice to have some more contact than only to it´s nice , it´s wonderful, I think it could be enriching to have more exchange about our music about the ideas to compose or to make music or to communicate with the people which are listinig to us - are you also interested?
  • Thanks for the question Matt. I am an improvisor rather than composer, and combine everything from MIDI records of improvistion sessions. Some pieces are put together as parts of a single and long improvisation (e.g. 9-parts Mystical Suite). Usually I create recapitulations by reorchestrating some fragments and inserting accents and intrusions taken from other fragments. I almost do not WRITE music: everything is played. The advantage of this method is working with records of authentic emotions. I strive to employ many virtuosic piano elements, which I found very expressive. The disadvantage of this method is a difficulty to get a conventional performable score.

     

  • Hello Matt, your music sounds very soulful, that you also are an improvisator likes to be congenial to may way to make music - I want more to see and to hear from your music.
  • I guess it depends on what you mean by 'linear'.  I suppose I can apply that certain 'adjective' to your music, as I do honestly feel that it moves forward (in its own way, of course).  However, with my music, I am a great follower of forms.  Not so much in the formal scholarly fashion, but more so with the tool of development, recapitulation and cyclic aspects.  If you were to listen to my symphony from beginning to end (not that I'm expecting you too, unless you have the time), you would know what I mean.  

     

    When I was young, I always knew which parts of a movement I liked best, but of course, I never knew why.  The bits of classical (as in 'art' music, not necessarily from the Classical period) music that I did like had me sitting on the edge of my seat, and it wasn't until I started my musical education that the penny dropped, for me to find that it was always the 'development' section, or any kind of development that involved furious changing of keys and motif manipulation.  So I've tried to take it one step further and put a lot more 'development' in my music, than previous composers.  That's probably why my initial motifs are rather short or weak even (apart from 'Spirit of the Stour' which comprises a very long melody in question and answer form, but even then, I've still ensured that the development is by far the longest section in the piece.  It's probably the only piece where I've followed sonata form to the letter).

     

    Cheers,

     

    Simon

  • (still about "ears to the dozen")

     

    All these messages in one piece! You seem to have alot to say... Really artistic work.

     

    Do you actually write it out? The cell phones and conversations were intentional... (?) I hope!

     

    Regards

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