orchestralmusic.net

Hello. I have bough a new computer with fast SSD disc and now I can fully utilize most powerful patches in EWQL Hollywood Strings. It sounds great, measured as digital instrument, but I can’t agree that it like real orchestra. I feel a lot of pain when I compose and just can’t force the orchestra to play in some way. I am just limited by samples and articulations prerecorded and just can’t get more of it. If I can conduct such a big orchestra, I would have much, much wider possibilities than in digital orchestra. Moreover, digital orchestra can never play as smoothly as real orchestra. But anyway, it is a great digital orchestra for someone, who can’t have his pieces recorded by some real orchestra.

Hello. I have bought a new computer and now can fully utilize EWQL Hollywood Strings. It is much better than other string instruments I have used. You can hear it in 2 new orchestral pieces on my pages (Orchestra 51 and 52). Link is here: http://www.orchestralmusic.net/compositions/orchestra/

To jrcramer: From the construction point of view, it is like water and fire to compare this tuning to Baroque temperaments. Baroque temperaments are based on either Syntonic or Pythagorean comma, while my tuning uses small fractions of whole numbers. Hence, the principle is entirely different. Pure Tuning is based on the same principle used by Just intonation. But Just intonation is unusable for almost any music using harmony, not speaking about all the keys. So I claim Pure Tuning is the only one tuning based on small whole numbers, which you can use for all the classical music in all keys. Of course, you can use my principles, which are in my paper, to construct something similar, but I think it cannot be better. I was trying and examining all reasonable possibilities.

Hello. In the serie 'New seriousness' I use Pure Tuning beginning on 'ORGAN -86- glims of the hope'. The previous compositions in this serie are in the Werckmeister III temperament, which I was using (beside other historic temperaments) very often before I have invented Pure Tuning. My whole piano series 'A spring' and 'Cycle of the life' use entirely Werckmeister III temperament. It is better than Equal temperament that I was using in my older pieces (I also use other digital instrument in them, so the difference is big), but still not ideal. Then I have invented Pure Tuning and the whole serie 'Pure flowings' is in it. By the way, Werckmeister III sounds really good on the organ, it is my favorite historic temperament. But it has some problems and is not as pure as Pure Tuning, so now I use Pure Tuning entirely also on organ. Incidentally, I have published 2 new organ pieces in Pure Tuning today.

You can really use all keys, even 6# and 6b. As far as I know, only Equal and Lehman-Bach temperaments are suitable for this, because they don't contain any Pythagorean thirds in any key and have all fifths considerably wide. Every key is different, has other color. This was widely used in Baroque, different keys were used for different purposes. Concept of multiple different sounding keys is completely lost in Equal temperament – there is in fact only one key and every other is just transposition of it. Like some other historic temperaments, it uses different sized intervals, so there is not just one major third, but more of them. So the third C – E will sound different from D – F#. This makes music more vivid. In contrast, in Equal temperament are all intervals the same. Because it is based on whole number ratios, chords are more clear than in any other tuning usable for all keys. There is just less harsh, less beating in chords on the average.

Does this matter? I am not a professional. I just found Equal temperament to be lifeless that's why I was experimenting with older temperaments trying to find some nice a universal one. But no one was perfect, so that I wish to use it in all my pieces. And then some inspiration has come to me, I sit to computer for some days, do some programming, and as a result there is Pure Tuning invented. I wish to use this tuning for all my pieces. I can use it also in pieces where there is 6# or 6b key and it sounds good. Every key has its own characteristics, as it was with old, Well temperaments, which were used in late Baroque and which also Bach have been using. I also play all piano literature in this tuning.

Hello. I think computer music will never be better than real music. I myself want to have ideally all my pieces recorded live by live people. But I just can’t at this moment. So I must do it in some other way. I think there are not many people nowadays, especially young composers, who are lucky enough to have theirs big orchestral pieces recorded by professional orchestral. Am I wrong? Also, if you want to have good organ recording, it is definitely not easy. That’s why I put my offer here. If you are not interested, that’s OK. Maybe someone else will be.

I have created new tuning (temperament) that you can use on digital as well as real instruments. More information here: http://pure-tuning.net/ http://www.orchestralmusic.net/tuning/

Hello. I have created free tool which can help you to learn harmony. It is located here: http://www.orchestra...ic.net/harmony/

Hello. I can offer one unperformed piece for violin and piano. I don't know if you will like it, it is extremely simple and tonal: http://www.orchestralmusic.net/compositions/chamber-instruments/ You mention tunings. I have created my own called Pure Tuning and it would be ideal if my works are played in it, because I like it so much. However, I have no recipe how to tune it by ear, so far. I have my upright tuned to it using digital tuning fork. Here are links, if you are interested: http://pure-tuning.net/ http://www.orchestralmusic.net/tuning/ By the way, I live nearby, in Czech Republic and sometimes in Slovakia.

Hello. I offer making recording of your composition using professional digital instruments. I wouldn't make it for free, but for a some small fee we agree upon. More information here: http://www.orchestra.../for-composers/ I think it's pity that many compositions here on YoungComposers are degraded by using synthetic-sounding sounds.