steventanoto

It's Tchaikovsky who set the Ode to Joy text, as his thesis to complete his university degree. I think Rubinstein requested that... And well, it wasn't even performed in the end because it wasn't good enough. Poor Tchaik.

I'll give this one a shot. And I hope I actually do it this time!

Hi guys, I wrote this sketch thing a few months ago, but don't know what to do with it since I last worked on it. The piece, imo, has way too many ideas and no development whatsoever. I reckon the beginning is much better than later towards the end of the piece. So, it would be great if you have any suggestions and thoughts on this. Thanks =) ST Symphonic Orchestra 1.mp3 Symphonic Orchestra 1.pdf

I quite like this actually. About not being Mahleresque... your main theme is still rather Mahleresque =P But I think this is one of the most interesting piece you wrote and not just interesting for the sake of interesting. I quite like a lot of the sections here too. The effects you created with Harp, Crotales and other percussions are great. There are also some really great moment, like bar 23. I somehow thought this piece is a larger piece and should go longer. But oh well... It's great anyway, I like it!

Or Arvo Pärt's Fratres for String Quartet that features the second violinist to play an open G-D throughout the piece.

Hey, great piece. I really like the 5/4 time signature and I thought that was really effective. Definitely could imagine star-gazing in this music. With piano chords, low registers sound really thick and muddy. It's better to spread them out a bit. Generally fifths and fourths on the left hand and right hand could be closer together. But yeah, I enjoyed this! Thanks =)

Thanks for the comments, guys! =D I really appreciate them. @Serge. Yeah, I am always interested in knowing what my piece is about. I can sort of guess, but it's weird, always feels like it's what I am feeling at the time I wrote it but I don't even know what it is. I can only guess. And what others say about it is interesting to me. I hope there are people who can tell me what my pieces are about.

Thanks for the comments, guys! @Tokkemon. Thanks for that! =D I'm glad you liked it. Hmm, I'm not familiar with New York Counterpoint at all, although I do know of the piece (clarinet orgy!). That's interesting (about the Baroque fugue) because I definitely am not thinking of that at all. Although, I do think of different phrases being played at the same time, which imo is nothing at all compared to the Baroque fugue. About the ending being a dissonant chord, to be honest, I don't hear that as a dissonant chord... That's probably why it sounds finished to me. @benxiwf. Ah, I should go and listen to some of your works! This is definitely Minimalist influenced, and you're right, it's rather poppy (especially the intervals I love, 7th, 9th, etc.). And for that, I think it's closer to Torke. A friend of mine actually said that it reminds him of Michael Torke too. I agree, the ensemble had to learn 4 other works too, on top of trying to get this played. That recording you hear is the recording of the first time they played it without stopping (and they nearly stopped towards the end). It was quite a scary and suspenseful experience... You are sitting on the audience seat, knowing that it won't sound like you want it to sound like... not even in terms of speed or interpretation, but in terms of correct notes... Oh well, it was a great experience anyway!

This piece was composed for a music festival in Adelaide as part of the Young Composers and Performers concert. The performance in the recording is rather rough (there was even a section at the end where they nearly collapsed) because they had a lot of pieces to rehearse and had such short time and few rehearsals. So the idea is to write for an ensemble famously known as the Pierrot Lunaire ensemble: Flute, Clarinet, Violin, Cello and Piano. Of course, the alternate piccolo, flute in G, bass clarinet, etc. can be used too. So I've made the flautist double the piccolo and the clarinettist double the bass clarinet. As the title suggest, there is a middle "sweet" section in the piece that has a simple structure of A-B-A'. The whole piece is based on the materials introduced on the first page. Interestingly, the conductor told me that when he was learning/practicing this piece, he needed less coffee as this piece substituted that for him. I guess my love for coffee is shown here too =P Anyway, I hope you enjoy this piece. This Product Contains Saccharin

This is great. I don't know who Jacob de Haan. But I enjoyed listening to this entirely! Nicely crafted and enjoyable to listen to. I was supposed to write something for wind orchestra too. But I haven't been doing it. Oh well, I hope I could start!

Wow, I don't expect this kind of composition from you! =D Congrats, I liked this. I like the sparseness of the whole piece.The beginning slow section is slow, but it's great. I like how the single notes get more and more frequently played.

This piece was submitted as a competition to write short piece for the Australian String Quartet. 6 pieces were chosen to be workshopped and 3 were chosen to be performed in our uni's lunch hour series. Composition-wise, I use a lot of canon in unison to create some sort of atmosphere. I guess this is because during the presentation they give to us composition students, they said that as a string quartet, their favourite thing to do is to play melody. I've tried to make every single lines they play some sort of melody. I've uploaded this before, but it was before YC changed a fair bit, so I thought I'd reupload this. Enjoy =) Darkening

This is a cute piece. I like it. Somehow, I like the cello with Fnatural instead of F# on the phrase on bar 3 (and its repetition). But other than that, wow, just started 5 days ago and already written so many. He should get his own username and get him to come here ^_^

It's a beautiful piece. Definitely will sound much better with a real choir than this stupid doo-doo choir on MIDI. I agree, I just heard the whole thing in B major instead of Cflat major. It is rather confusing and it would just make choirs go WUUUT? Since they have to flatten the F and the C too. Other than that, it it indeed a beautiful text. Thanks for this =)

Thanks for the comments, guys! With the chords, well, a lot of the time I was dealing with octatonic scale derived chords. Especially Var. 6 because I composed that as an assignment for my theory course (on a composition based on octatonic scale, of course). You're right, variation 5 is supposed to be rather Rachmaninoff-influenced, but I think that is a rather fail one - it ends up sounding like some cheesy pop music. And I also feel like deleting the huge breath marks! Variation 8 is actually added because my friend (who's a bassoonist who's gonna play this eventually) wanted something where he can use flutter tongue and fake trills. Overall, I think this is one of my stronger compositions. It's got more rhythmic intensity and variations and the harmonic language is also more harsh than my usual easy-listening music. Well, I'm looking forward to have this recorded! =D Thanks again for the comments, guys.