Ken320

Sorry, I didn't mean to hijack the thread with politics.

The kind of issues you've all expressed will easily work themselves out as long as we keep Leftist hands out of "the orchestra." It's human nature to forgive and even provide cover to "the aggrieved." But then we are easily fooled. And so we watch as they destroy our institutions one by one. Maybe it is the Boy Scouts, or the "school" or the freakin' New York Times. Maybe you don't have kids so killing the boy scouts is not a big deal. Likewise the New York Times, which is now a former newspaper. But eventually they get around to destroying something you really do care about. Once the Left gets its hooks into something, it's over. Because it never is about the grievance anyway, it is always about power and "The Shakedown." Unfortunately, those whose whole world is centered around classical music may cave in to demand after demand. THAT will make your dollars dry up faster than anything. But if classical music remains a healthy, un-political organism then modern music still has a good chance, I think. https://www.nytimes.com/2020/07/16/arts/music/blind-auditions-orchestras-race.html

I like the kaleidoscopic shifts in tonality you've got going which gives this a whimsical aspect. It reminds me a little of Alejandro Amenábar in his film The Others. https://youtu.be/4fBa48yB1ag

with Charlie Haden on Bass.

Play got a bad rap for the load times. But that was fixed about two years ago with more efficient code. It may be slower, but only by a little. I use both Play and Kontakt and they load about the same time to me. But the most demanding libraries I have are those running on Kontakt. Spitfire Solo Violin, for example. These heavily scripted instruments are CPU intensive and that's the trend. But nothing in the East West collection is that scripted, so far.

Arranged and sung by Singers Unlimited. Sounds a little like Satie but it's not.

@TheCluelessClariney Oh no! I kind of stepped into this. I didn't mean you in particular. Really. I just mean in general that people have gotten into the habit of not acknowledging the comments they get. And that is just my personal experience. I am always happy to comment when I can.

***** Anyway I've already commented on this person's efforts several times with no acknowledgement or thanks when I really should be putting time in on a project even if stalled by this latest virus thing) so I won't be commenting again. . ***** @Quinn, I get maybe four acknowledgments out of ten comments I leave. It's a problem around here, and it's just bad form.

If your bass lines are going to be melodic, and it's great when they are, they will necessarily be playing the 3rd in both major and minor chords along the way. And maybe the 5th. But mostly the 3rd. It's a hard and fast rule to not double the 3rd when it's in the base. Never double it an octave above the bass in the cello! That is a recipe for mud. If you want to double it, make sure the bass and cello are playing the same pitch. And even this can sound muddy. These 6/3 chords are meant to be passing. They are unstable. Playing the cello a 6th or 10th above the 3rd in the bass is a good sound, but just remember the lower you go the 6th will sound muddy and the 10th not so much. This rule also applies to chords you have redefined as M6 or m6th chords. It is still a 6/3 chord for purposes of doubling the lowest note - even if you are considering it the root. There are many examples of this online.

Yes, but I don't have an example of staggered 16th notes, only 8th notes. Doesn't matter. With rests it would look like this. Note that in this example in 6/8, it takes both staves to account for 6 beats.

Something like this ...

Sorry for the frequency of these posts but there's so much music out there and we may not be aware of it because we are busy and think there is nothing to learn from pop music. But there is! Huge currents and voltages Potential for fire, for fire yes (potential!) You take the heat on the rooftops You make it sweet oh please don't stop Protector and a messenger Don't throw in the towel before (protector!) You've done what you're called to do You'll never be done if I know you Drawing fire Fire from the clouds Drawing fire Fire from the clouds Ben Franklin could have been killed With key and kite up on that hill (electric!) Devotional experiments In spirit, you are much like him (experiments!) A writer, a scientist You sing your song as a servant (science!) To gods whose voices speak through you From somewhere in that troubled blue (devotion!) Drawing fire Fire from the clouds Drawing fire Fire from the clouds Drawing fire Drawing fire Source: LyricFind Songwriters: Laura Veirs Lightning Rod lyrics © BMG Rights Management

Well, this is a lovely somber piece with what I would call "bits of intrigue" added to good effect. You have lines of varying length weaving in and out, something I admire and try to do myself. But there is always the danger, if you would call it that, of jarring dissonances in the longer held notes because of all the moving lines around them. And of course the more lines you have the more probable these dissonances. It's an odd conundrum which could be solved by a/ having less voices or b/ being less adventurous. I don't recommend either! Because the long held notes are beautiful. The opening organ is a good choice, I wonder why it did not make a return at the end?

It's a nice song but the drums are too loud relative to the guitar and your voice. It's interfering with your voice a little.