Thatguy v2.0

What's funny to me is that when I first started listening, it sounded exactly like the Prelude no.1 I posted here a while back. It just started similar, and is unique and very different from my piece haha. Is this really electronic music? Is it because of a synth or something? Sounds like solo keyboard to me It's a beautiful melancholic piece, and I enjoyed this a lot. You should post more, it's only been a year and a half or so lol Nothing you mentioned about Noah sounded confusing to me. This is lovely, thanks for sharing

Hey man This final (?) version is really cool. I wanted to share some takeaways that I hope you consider for FUTURE music, not this piece in particular. Your music has a lot of emotional depth and tone color, and your studies and/or admiration of film scoring shows in this work. You do a great job at providing the background to something happening on screen, or as part of the story. Is this correct? Sorry if I'm wrong. If that's the case, what does this go with, or what were you writing this for? I'm always curious of the story that film music chooses to be supplementary to. I only say this because your music completely ignores (imo) melody, which is what the listener of an abstract environment has to grasp onto. There are no lyrics, so I can't grasp the story. There's no melody, so I can't hear what you intend for me to follow. I only have lush orchestration with harmony and tonal colors to hold onto, and although great, it leaves me asking what you are trying to say. Like I said, if there's something specific this is about, or if you wrote in general to be applied to a multitude of different scenic variations, then that's cool. But it was just hard to grasp only harmony and color to what you're portraying. If you're anything like me, I too first was orchestrally inspired by film, but then I soon found the masters and was blown away by the level of musicality within their work. Want to know how to create divine melodies? Start with Mozart and Chopin. Want to better yourself with contrapuntal writing? We all revere Bach. Want to know the secrets of drama and storytelling within an orchestra? Beethoven, Sibelius, Shostakovich, etc. etc. If I were you, I'd take my passion and obvious talent with music further by really grasping what made the greats so great. Incorporate their technique into your writing. Hell, steal if you want. It'll all make you better, and you have a fine start where you are right now. You have a nice grasp of emotional harmonies... now let's take that a step further. If you add a keen sense of melody writing to your music, it'll only make it that much more wonderful. What about rhythm? Even if you're going for a lush cinematic sound, having parts of the orchestra hold a static but flavorful rhythm would do wonders. I'm excited to hear how you continue to improve, as I know your passion for music is unavoidable in getting better. P.S. If you ever come to Nashville, I know nothing about cars and probably get scammed when I need a fix. Help me please lol

when Henry uses the F word, it's always brings joy to my heart

I think computerized renderings are the key thought here. Your music would absolutely flourish emotionally in the hands of an accomplished player. I understand that fugues in general can sound mechanical and scripted, perhaps even emotionless. But everyone who's been around here for a while knows how exquisite your craftsmanship is, and it's no knock against your creativity or talent to say that this particular style is soulless (not that anyone said that). There is emotional depth, but I think it's buried underneath a rigorous toolkit designed to "puzzle" the notes into existence. Luis said what I couldn't say any better. This is devastating, I'm so sorry for your loss and grief. But life goes on, not to sound insensitive, and your pursuit forward is a trademark of your perseverance. I love seeing new posts from you, even if I don't comment and offer insight. Mostly it's because the heavy contrapuntal styles are foreign to me, but I always appreciate their beauty. Thank you for sharing.

No one can play Sweet Georgia Brown like me, except the guy that taught it to me ofc

First of all, I'm the dog whisperer. It breaks my heart to read the backstory of your piece, but thankfully he at least has a chance because of all your and the teams' work. All variations of canines have my heart, and the words you gave us resonate loudly within me. You could of just "not cared", but there's too much of that in the world, and it makes me happy that you chose to pursue the path of effort in helping this poor creature return to safety in the wild. Now that my eyes are dry (lol), onto the music. I don't know much about choral writing, but I have some thoughts. For one, I'm a little sad to hear midi... haven't you made videos where you're singing all the parts? Perhaps for a future time 😄 I love all the dissonance created by 2nds. Some where treated as suspensions, but others seemed to be used for color. It seemed very impressionable with the content you wrote about. I also really love the lyrics, especially this: "He is everywhere, a scent on snow. He is the unforgiven air. He is the curled leaves. He is everything". I've lived all over the country, and my dad was the man that taught me about the outdoors. I lived in Alaska, and have had many encounters with wolves. It's always surreal, and there's a great deal of respect I have for them, for how they are one with nature and their environment. As dumb as this sounds, I've learned from them too, and your words reflect a great deal of wisdom and admiration for the wild world around you. Your music is always lovely, thank you for sharing

hmm I like the reverb and ambiance of the second version more, but the clarity of the 1st version is better to me, the melody doesn't seem as far away. I think the way you're using microtonality is best served when going for an effect with music, or using a more ambiguous language. When you've been very tonal, it's been a bit harsh. But when using dim or aug scales, chromaticism, "getting weird", it seems to work more advantageous. As I mentioned on discord, posting a lot of small pieces composed in a short time really shows the techniques we lean on. You show a variety of motif-driven invention type of pieces. What about exploring rhythmic variation, or longer melodies in your studies? Not sure of the overall goal (if there is one), but these could be easily organized into a set of microtonal studies, and the more variation in your compositional technique you offer, the better outcome they would be as a set or the on the whole. I like this one more than some of the others because it was weird haha, perhaps microtonal deviations in your language enhance that. Well done, this was great. 🙂

you know, I've recently changed my view on this I think we write for ourselves, and most of us don't have much of an audience outside of ourselves. I've recently gone back and listened to a whole bunch of stuff I've written, and it's better than I thought when I closed the chapter in my mind. It's inspirational to listen to your stuff, because, well, if you're like me, I'm constantly writing. And sometimes I forget the efforts I've put into past work, even if I think it was amateur at best. You are your own biggest fan, and you should get enjoyment out of the music you write. Although I cringe and hear the mistakes I would have changed, it's cool to hear live recordings (thanks Henry) of me or others who have taken the time to make a moment of music special. Listen to your music, people 🙂

Wow... this is so refined and smooth. I love your style. Your phrasing is admirable, and nothing seems out of place. You're quite the composer!

@AngelCityOutlaw Hey man, thanks for the feedback. Hope you're busy and well. yeah I'm open to this, I'll tinker with it at the end of the song? or the last line of the verses? agreed You're awesome, thanks buddy

Thanks Peter, I'm glad you dug the form, even if it was a bit unconventional. Glad you enjoyed the playing too! 🙂 I love this. You're a poet my good man 🙂 Thanks for checking it out Henry

Hi there I'm going to be recording some demos of new songs, but in the meantime I'm self-recording just to have them to pitch. I'd love some feedback on this and the upcoming songs, especially all you talented vocalists and lyricists. I'm really interested in improving my vocals. This is a quick recording, I'm really hoping for ideas on how to improve the melody or guitar parts since this recording won't be final. It's pretty simple, pop-ish chord progressions, nothing crazy. Even if you don't comment, thanks for checking out my music 🙂 *** Lyrics: I've no fear of the sea cause with you I can tread higher water even if we drift off with the breeze I'll go the wrong way with you * When we drive down the road I get lost in the way you direct us no matter how far we are from home I want the wrong way with you * When I get back from working I come home to karaoke and your voice fills the room an out of key symphony but I can't help it, I'm in love * I tend the fire at night the warm light dancing free all around us I wish the sun would never come up again so I can stay right here with you down the wrong road with you and I love the wrong way with you any other one just wouldn't do when you're here, wherever we are feels right inside and I'll always throw away the guide and walk, the wrong way with you

I love the parallels at bar 15. I think it was smart to use your rhythmic motif too, it helped tie the dissonant nature of this into something I could digest. Well done, Luis.

Your harpsichord is awesome. You post videos of you which is awesome. Your artistic scores are awesome. out of