
Some Guy That writes Music
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Some Guy That writes Music last won the day on March 27
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About Some Guy That writes Music

- Birthday 10/21/2002
Profile Information
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Biography
Hi
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Gender
Male
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Interests
stuff
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Favorite Composers
Rachmaninoff, Mussorgsky, Puccini, Tchaikovsky
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My Compositional Styles
Figuring that out
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Notation Software/Sequencers
Finale (old), Musescore 4
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Instruments Played
Baritone (Singer)
Recent Profile Visitors
3,856 profile views
Some Guy That writes Music's Achievements
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Some Guy That writes Music started following Love Song for SATB choir , 4 Unrelated String Quartets , Offering my experience as a singer and 3 others
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Hello Young Composers, I have finished a project of 4 string quartets, with the goal of getting 4 distinct textures and vibes, 2 slow and 2 fast. 1. Is a broad but brisk quartal and quintal harmonic piece. For nearly the whole piece, it avoids thirds and 6ths, and uses many 4ths, 5ths, and 9ths. 2. is the slowest of the four, and uses double stops for most of the piece, creating a thicker texture. 3. is the fastest of the four, with an emphasis on syncopation and skedaddling melodies. 4. is best described as fight between quartal and triatic harmony Hopefully you enjoy the varied of textures I'm offering. As always I am very open to feedback and criticism, because how else will I get better?
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Hello Everyone, My name is Izaak Thoms, and I'm a singer. I've been a "professional" (as is in occasionally make money singing) for years at this point, and I am also right now an undergraduate singer in a collegiate program. I've sung with Grammy-nominated ensembles, and other accredited performers. I obviously wouldn't call myself an expert or master at my artform, but I would like to say I have a strong understanding of men's voices especially, but also all voices in general. I've been thinking about this for a while, and would like to just offer my years of work and experience to you wonderful composers. Hopefully those of you who are interested in using me as a resource, can ask me questions about the voice in solo and choral work. And hopefully give you all opportunities to be more successful. Here are three piece that I have performed recently, hopefully this gives you a chance to hear my voice: https://youtu.be/CsCuZRIvmWg https://youtu.be/bK-JrJFqgeA https://youtu.be/XBcOsTt4hyE Things off the top of my head that I know I'll be good at answering: formatting questions, range and tessitura questions, performance questions (concert and staged works), behind the scenes of preparation and performance. And if this thread gets popular enough, I'll likely edit this original post to function as a sort of as a tips and tricks so you might not need to scroll the whole way through.
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I can tell you spent a good bit of time and effort listening and thinking about my piece, and that means alot so thank you for that. I appreciate the specificity of your feedback, especially the notes about fermatas and other formatting suggestions. You feedback is very much respected. As for musescore, one day I realized the sound libraries were on sale, so having just had my paycheck I decided to get “Berlin woodwinds” and “berlin brass” “Cine Percussion” as well as “Cine Strings”. I find that many instruments are out of balance with each other in default musescore. And because of the limited sound editing options (velocity values don’t work with muse score sounds) you have to use dynamics to change volume (rather than some softwares like dorico where you can just make an instrument louder in certain parts of music). These were a game changer, and the $50 i spent on these libraries is a very good in between from Musescore sounds to the nearly $1000 needed for Dorico+Noteperfomer+VSTs. I’m not currently reaching out to any orchestras to perform this, I’ve been looking at some compettions to submit a movement or two but nothing has deadlines soon so I’d rather see what new things I can write. My current goals are to improve until I am satisfied I can write music without limitations (currently my knowledge of harmony and textures feels limited) Once I spend some more time dedicated to improving in these areas, I’ll feel comfortable spending the time advocating for myself to orchestras. I am still very proud of this work, it is many times better than my previous suite I wrote a few months ago. I am taking composition classes this year and next so we will see where those can take me, especially with the focus on chamber works.
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Thank you Alex, Indeed this took a long time. I started it nearly 2 years ago and composed quite on and off over that time. I appreciate your specific feedback, and I agree, bassoons are awesome! I had a reading session with some woodwinds recently and the bassoon really struck me, especially in the upper register, so I thought I would apply that, and you should see that idea in the last movement as well.
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This is a piece I've been working on for a little over a year at this point. Originally intended as a suite, it developed into a symphony, with themes that are varied throughout the entire piece. It is the longest, most complex, most varied piece I have written. I am quite proud of it. This piece intends to follow the life of someone who commits a terrible act. Movement 1 is Idolization, the character experiences something that they love, and attempts to reach this idea again and again, but fails. So movement 2 is the Manic continuation of this feeling but now with stronger feelings, and worse intentions. Movement 3 is when the character decides to commit to this terrible act. Movement 4 is the action of committing the act. Movement 5 is the end of the terrible act, and our character, leaving us with nothing. When I wrote this, I was following along with someone in particular, but now I see, it could be many stories, which is why I've kept it general. Enjoy this piece. 00:00 Movement 1 11:16 Movement 2 16:58 Movement 3 27:30 Movement 4 36:54 Movement 5
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Hello Guys, I just wanted to share a little septet that I wrote for strings.
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Romance in A Minor for String Quartet
Some Guy That writes Music replied to JorgeDavid's topic in Chamber Music
Gorgeous! You use the voices quite well here. I think this piece really shines in the parts that have rests. I think this is mostly because it feels like you are using the instruments the most you can, and if the harmony doesn't need more notes, you leave them out. You create some extraordinary beauty in those moments. I think your rests really allow the feeling of "Sentimentality" rise out. That along with your gorgeous harmony. -
Hello everyone again, Today I bring forward my first choral piece that I've been proud of *in years*. It has been a very inspired piece written over the course of today (I skipped my Italian Class for this, Mi spiace!). Anyways about this piece. I've been wanting to write a choral piece for a while now, and I had recently felt inspired, so I've been scouring here-and-there for poems. And although I had read dozens of poems that moved me and made me want to write a piece; I struggled to connect the words and music. So I decided to write my own, and I figured the most convincing writing I could do, would be for my partner. So this whole piece is written directly to my love. The main overarching theme is; I could never overstate my affection, because words could never say everything I felt. So I use music to do so. The song begins with very classic American clichés. "you are the apple of my eye. the wonder of my daily life. my shining star" Exaggerated and cheesy language, which is how I talk with my partner. There are slow, fast, loud and quiet "I love yous" because I find myself saying it differently and meaning it the same way all the time. Then we get to the crux of the piece "I love you more than words could ever express. But I'll try". Even though just saying 'i love you' does not say it all, it gets me that much closer, and proclaiming love many times gets me closer to that unreachable goal. And then we loop around and say things again. This piece is in ABACA form and for the C section I decided to not use any words. I hope you enjoy, and please give me feedback to improve this piece, if there is anything (even if you can't figure out what it is) let me know and I'll take your feedback. This would be a good piece for my choir to perform, I just want to make sure I didn't miss anything important.
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In my studies of orchestration I've been doing some exercises, today I'm showing my attempt at the emotion "Sorrow/Depressed". I got this from a wheel of emotion that I will continue to use for further exercises. I'd appreciate if anyone could challenge me to showing an emotion on this wheel, this way I do something that doesn't just catch my eye. In this exercise I use alot of half steps to create an uneasy feeling hopefully a feeling of "where is the tonic". While the tonic is relatively simple most of the time, I feel like I did successfully create an uneasy feeling. I also use sparse and changing orchestration to keep the listener on their toes. The hardest part about sadness/depressed was differentiating it from other emotions, and I thought if I kept it too tonal that the whole thing might sound more like a different emotion. Do you think I succeeded? Anything you think could've done better.
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Hello Everyone, You may recognize two of these pieces as I posted them before, and now I have finished the collection. This work is supposed to represent the placess that I call home, one of which is my partner "Emma". We begin in New York where I went from kindergarten to 11th Grade. This movement uses alot of asymmetric time signatures, to respect the many influences in my life at this point. Altough not a very jazzy piece, it still takes from some outside influences. I then moved to North Dakota my Senior year of high school where I found a new self, and started to respect myself. Every summer I come back to work and build up finances before school and I feel at home. Portland represents the scenic nature, and demands of college. One of the themes repeats three times, each time slower, and easier to manage. As I've figured out how to function, after never needing to study or do homework before. And Emma is meant to represent the love of my life. The movement starts quite dark, as it represents where I started with Emma. My previous relationship was rocky, and it influenced my relationship with Emma. But soon I learned that her love was not conciliatory, but rather true and unhindered, and you'll hear this in swell getting more and more joyful. The piece does not end with bells and whistles, but rather a tutti pianissimo. This ending represents the peace I feel, knowing she loves me, and that she has taught me to love myself. Also I have purchased some new sound libraries. I am using the berlin woodwinds and brass, with some cinepercussion. (I also bought some strings but truthfully musescore strings really are the best for all around sounds. The others just aren't as smooth.)
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This is a great work. The tutti sections are faboulous. And the horn swells too. I really love most of this piece, so when looking for critiques I had to look at the score and say "I guess I loved that a little less". My first worry is just projection with the low parts of the Trombone, that's really low, and you do have everyone else at ppp, but just so you know, the trombone is gonna be even quieter than your DAW is showing. m. 17 is awesome none the less. m 20. is great. m 28 seemed to miss something. You know 39 is great. m. 50 speficially feels like its missing some subdivision rythmically. Not a mandatory fix, but may help energywise. I have to say, when move the straight mutes, from that point on I'm not sure I'm convinced. It might be because the DAW took me out of it, but I don't think so. The vibes feel too different, like we've been working up to something and this wasn't it. I was so ready for 74 to resolve us, but we kept going on and lost our home. It's still well written imo but I felt like I lost your vision.
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I thought this little bit was great. It would be a very convincing begining. Now all you need to is to flesh out the theme over time. The instruments interplay is quite nice and finding a way to continue that energy in quieter sections would be cool. I don't think anything needs to be changed from what you have, more so the rest of the piece would depend on the evolution, variation and repition of a theme. The violin part to me is the most ear-catching part, but in part because of the cello counter melody.
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Thank you I appreciate your feedback! Thank you for your feedback! I am use Musescore 4, muse sound, which is all free. As for orchestration, I have not taken any classes on it or anything, but I've been studying music for vocal performance for 3 years now. I think the biggest thing I have learnt is to take the limitations of instruments as oppurtunities to use instruments for specific colors, and to modulate to use those colors. Also listening to different music has helped me discover colors, and then feel inspired to use those colors.