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Hello everybody. We've got a new song out called ''Desperate''. We tried to give an 80's feel to it, acoustic ballad type of thing. Hope you guys enjoy it. ======================================= My previous: https://www.youngcomposers.com/t35836/new-sound-delicious-grace/ https://www.youngcomposers.com/t37009/delicious-grace-the-boy-from-memphis/ https://www.youngcomposers.com/t37305/delicious-grace-chaos-and-shame/ https://www.youngcomposers.com/t37476/delicious-grace-nocturnal/ https://www.youngcomposers.com/t37761/delicious-grace-queen-of-england/

Maybe it's just me, but you seem to use 7/4 time in a very natural, lyrical way. Usually this tempo sticks out like a sore thumb for me, but I don't think I would have even noticed if I wasn't looking at the score. Interesting. I like the way that the previous piece hinted at the maestoso here. In the piece before this one, there was this short climax at its grandiose theme, but here, it's like it gets a chance to be further elaborated on in this "remix" of all the previous pieces that came before it. It's a satisfying climax! And the ending C Major chord is also really satisfying and feels truly "final." (I think my favorite part are the 2 bars labelled martellato soon after the quasi cadenza, those chords are positively delicious!) I'm looking for things to critique, but I just don't see anything to criticize, personally. I just really like this suite, and your way of writing. What can I say? I'm sure your growth as a composer will come naturally with more writing, anyway, as all composers do. I hope at some point you can get a live recording of this music, because the only thing holding it back is the MIDI performance. Thanks for sharing with us! :D

I think this is wonderful, particularly in context with the set. The jagged edges of some of the passages is a nice contrast to the more smooth passages in the previous works. But I appreciate the subtlety and restraint. The piece has jagged moments that set it apart, but it still has its own smooth passages that give it a certain contour. I especially like the use of the unisons, like at mss. 59-69, for example. It contains the same harmonic feel, and even though it still sounds a little "rough", it comes off as more gentle than other parts in the piece. And the animato is just a beautiful passage. Great work! :D

I think you have to consider the background. In no tonal music, tritones are considered neutral. If the background is consonant it's dissonante and vice versa. I also thing the most dissonant tetracord is C-C#-D-Eb

I don't know about that. My point was whenever a chord is played all of the ratios found in it (much like finding an interval vector) are heard and applied to your ear, the consonance and dissonance don't much matter. Same goes with inverted, chords– the ratios would just be different, but you'd still hear all of them.

This is my first ever 'proper' piece for orchestra. It was going to be performed by a student orchestra back home, but the conductor has postponed on me twice already and I suspect it might not ever get played, which is a shame. It started off with the initial melody, which appeared in my head one day and stayed there for a few weeks until I finally got it down on the score. I always intended the piece to start off light and get darker as the piece progressed, although I never had any idea what the actual structure was going to be until I was almost at the end. In a way, the piece is kind of representative of aspects of my personality. This piece features a lot of the harmonic and colour-related ideas that I've been playing around with during this last year of my master's degree. It was also my first ever serious attempt at writing for a string section, which turned out to be harder than I thought - a lot of the feedback I got from my tutor as I was writing this piece was on how low I was writing the violins and violas, because I think I was subconsciously treating them like winds. I think I managed to fix a lot of those issues by the end though. Overall, writing for orchestra isn't something that appeals to me a lot right now, probably because I'm just not used to it, but that might change as my career (hopefully) progresses.

@Seery, it's both. Let's take a look at the ∆7 chord. 8:10:12:15 = C E G B All of the intervals related to C make sense. 10:8 = 5:4 which is a major third. That checks out because C to E is a major third. 12:8 = 3:2 which is a perfect fifth. That checks out because C to G is a perfect fifth. 15:8 = 15:8 which is a major seventh. That checks out because C to B is a major seventh. HOWEVER: All of the inner intervals also make sense. 12:10 = 6:5, which is a minor third. That makes sense because E to G is a minor third. 15:10 = 3:2, which is a perfect fifth. That makes sense because E to B is a perfect fifth. 15:12 = 5:4, which is a major third. That makes sense because G to B is a major third. So when you play a chord (C∆7, specifically), you hear ALL of those relationships at the same time. It is both all notes relative to the root and a note-to-note basis at the same time.

Basically. It's a little more nuanced, but in this case it works. [0123], which is C, C#, D, D# and (0123) are slightly different. Cents are even more weird to think about it. In pitch class space only, just think about intervals between notes, ratios for simple relationships, if you must. Makes it simpler unless you're utilizing the harmonic series for compositional effect. What? I'm saying the major seventh chord's ratios are 8:10:12:15. In any given ratio between two of those numbers you get the correct ratio for that interval specifically. i.e. 10:15 reduces to 3:2 as does 12:8. They're both perfect 5ths, which makes sense, because both E to be and C to G are perfect fifths. That's not two processes, it's just one concise ratio, despite having multiple internal relationships.

No, you didn't. Those three intervals are not the most dissonant if you wanted to make the most dissonant tetrachord. It would be Forte: 4-1, (0123). I just don't see why you, in your premise, think that (0137) is going to be more dissonant, especially considering it has an even interval class vector, while (0123) has a more left-heavy vector. In other words, I don't agree with your premise that the most dissonant tetrachord is one that has multiple different types of dissonances in it. You'll notice that (0137) is just the major triad (037) with an added minor second (1), so of course it isn't going to be the most dissonant, even when all bunched up. This whole ratio business gets really useless if you're considering all of this in equal temperament. In equal temperament, the perfect fifth is not 3:2. That's what I'm saying. I don't see why in your initial argument you claimed you had found the most dissonant chord which is why I was calling you out for stopping at 4 notes.

Why did you stop at three? D is the inversion of A# when working in equal-tempered pitch classes. In other words, both notes are a whole step away from C. It depends on the type of music you're writing. In jazz, you'd base things on the primary or secondary roots. In early atonal music, it could be either. In Renaissance music, both matter. Both, technically. When you play a major triad (C E G) the ratio is 4:5:6. Major third ratio is 5:4 and minor third ratio is 6:5. 6:4 is a perfect fifth. Major seventh chord (C E G B), you get 8:10:12:15. 8:10 = 4:5. 10:12 = 5:6. 12:15 = 4:5. The major seventh interval from bottom to top is 8:15. All of the ratios matter, that's what makes them ratios.

Hello musician friends ! I'm all new on that forum, and I decided to share with you this little composition of mine which is orchestral with a bit of metal. I'm not very experienced as a composer since I started composing orchestral music 1year ago, only by ear and without any musical theory. ...And I started composing on Fl Studio 5 months ago. I hope you will like it, and do not hesitate to tell me what is good and what is not in my music ! I wish you all a nice day !

https://www.youtube.com/watch?v=vJOmQn3zXzI This is one of my most recent works for violin and piano. Every now and then I enjoy putting myself into the world of (neo)classical forms and I try to compose something fresh within this quite strict approach. I hope you will find this composition interesting and I encourage you to write some reviews. Thank you!