Some Guy That writes Music

A piece I've had in my back pocket for a while, that I finally am posting because of Cantai. I wrote this piece because I was having a tough time connecting to poems, and after years of not writing for voice I wanted to just do something. So I wrote the words myself, as if it was for my fiancée. I love you.mp3 I love you.pdf

Opposed to orchestral percussion, percussion ensembles usually get alot more room, which allows them to position instruments where its easy to transfer. Also mallet bags assist with this. Truthfully the rule about giving alot of time for percussionists is only if you do not know what their set-up will look like. However if you can calmly and easily switch in a quick time, then there is no issue.

Then I can help if you want, https://www.youngcomposers.com/t46963/offering-my-experience-as-a-singer/. I could run through some of your phrases to help you get an idea of what it'd be like in a voice. I'm okay with giving continuous feedback if interested.

The main thing I struggle with when writing art song, is that the singer has a limited range. I think in art song it is very important to have a harmonic idea of your poems first. Then creating a melody around that. The piano does 90% of the work and the voice should get the credit. As a singer, I truly think the best art song has most phrases within the range of a 5th. From phrase to phrase you can shift this around, but the more rangey it gets, the needlessly difficult it gets. If the poem is contemplative I would hold this as a strong guideline. But if it's angry, or disjunt, maybe not worry so much. This isn't to say that anything will be bad if written this way, but it makes it harder to execute. Also do you have a baritone in mind? Here is a piece that conveys what I think is important: https://www.youtube.com/watch?v=ZeXlTfC7MVM Most of the phrases are quite narrow for the voice, this allows the voice to navigate their difficult "passagios" Also notice how as the piece gets more intense, so does the range. And pay attention to how softly the pianist is playing throughout. It should be noted that this is a VERY difficult piece for voice. Specifically the closer you get to the end. Long phrases, short breaths, extensive range, lots of dynamic variety and high soft singing. The only reason its popular is because its so pretty. However the piece is subjected to pretty much only professional singers because of its difficulty. German Lied, is much more text driven. Generally a German Lied cycle has a lot of variety and color changes, as it was expected back then. So often times in a cylcle, piece are exaggerated in their color as much as possible. Sometimes I get annoyed at German lieder for not staying in the moment long enough, in attempt to create variety, but they are the world famous composers and I serve food to people. So getting into tonality. https://youtu.be/gHGYmV0frnw?si=H3MTNlnYh6iqUtvM Previn is always a favorite example of mine. Its tonal, but never the same tone. Listen to how the piano completely shifts from texture to texture in order to convey emotions, and prepares the next phrase. This poem is very complex, but the piano and voice work together to make it fathomable. Previn switches from between three primary textures, wide complex chords, high dissonant/poignant chords, and flourishes. Each represents a specific feeling. I think the wide chords express the "setting" of the poem, the natural feel. These are about 50% of the piece. The high dissonant chords have a feeling disappointment, while the flourishes express child-like hope. Also worth noting, this piece is really hard to sing. He never "preps" the singer with a pitch, making it incredibly difficult to find a pitch, even a augmented 2nd is difficult to find. I'm not big into non-tonal music so I can't help you much in that realm, but I think look at berg: https://www.youtube.com/watch?v=3I_7OHTr400 He's just my favorite in the not-tonal world. As someone who has sung a few atonal works, and others on the cusp, my main ask is: please make exceptions to your tonal rules, to allow the words to have their impact. Art song exists to create the worlds in which poetry exists. If the poem has to be forced by the singer, it is not a good art song.

I like your piece very much, and I think the formatting is the main thing to make sure you get right when submitting. You have the cover page, all your formatting looks good. I think one more thing to get an edge is to add some program notes notes, and performance notes. If you have anything to say, maybe consider putting it on paper. Maybe consider making the your measures per system more consistent? I think sometimes the computer chooses 3 measures per system when its not really appropriate. Your music looks like it can stick with 5 measures every system. m. 87, you have a crescendo leading to a forte, but with a rest in between, maybe go around and make sure nothing like that is happening. If the rest of the orchestra is crescendo-ing to forte, go ahead and write that in all the parts unless you intend otherwise, and specifically write otherwise. Clarity over concise. The rest of what I have to say is lower priority, get your formatting perfect first. One more thing to consider, only if you have time. You put most of the rhythmic interest in the snare drum. One way you could create some interest, would be add some more short rhythms in some other brass parts. Trumpets love fast tonging, maybe find a place for that. I know you play trumpet. what do you like playing that you haven't done? Also percussionists can play more than one instrument. I understand the mood/style you're inspiring strongly evokes the instruments you've chosen, but at least consider if there is some mid piece changes that would maybe strengthen the piece? (Bass drum?) Also consider giving your players some more breaks, especially before solo-like sections. The horn is hard after playing for 10 minutes straight. A couple more 10 second breaks for horns seems in order. Maybe give some trombones a chance. No VST can recreate the absolute beauty of a trombone solo. Trombones have an easy time with vibrato. Also maybe consider a coda with more extensive V-I action, I was surprised when the piece ended. Don't try to do everything I said, I gave you a bunch of stuff, some of which might be totally against your creative idea. I think you have written a wonderful piece that I believe is warranted for a selection, but I think some of the above things are especially important. Consider your jury, if you don't know who they are, its usually 50% conductor, 25% executive director, and 25% players. I think you can have a director convinced with the idea of your piece, (program notes help with that). Your score is very clear. But I think at the moment, the players are going to feel like the piece is tiresome for horns, and lacks time for trombones to shine, and under utilizes the wide range of a state-level symphony percussion section. Trumpets are going to have a great time. Your piece can still be selected, so don't toss this beautiful work, but these are the possible issues catching my eye.

I wonder if m. 57 would be more effective if you deleted it, and gave the measure before a big rit. Otherwise I just had relaxing time listening.

audio?

I wrote this piece a while ago, I'm not quite sure why I haven't posted it yet, as I believe it is my best choral work so far. This is a dark piece in the latin liturgy, and I wanted to use it to imitate some late-renaissance styles, without really adhering the the rules strictly. I aimed towards a Gesualdo like harmonic progression, and in doing so I broke ALOT of renaissance writing rules. But the texture is interesting nonetheless. Let me know what you think! Also I added two files, one is a Cantai Recreation, which has some annoying imperfections, but actually attempts to simulate voices. I can't fix just about any of the issues, but I only got a month trial so I'm not gonna complain too much. Aestimatus sum cum Descendentibus in lacum. Factus sum sicut homo sine adjutorio, Inter mortuos liber. Posuerunt me in lacu inferiori, In tenebrosis et in umbra mortis. Factus sum sicut homo sine adjutorio, Inter mortuos liber. Translation: I am counted among those Who descend to the depths. I became like a man without help, Released among the dead. They have laid me in the lowest pit, In darkness and in the shadow of death. I became like a man without help, Released among the dead. Aestimatus.mp3 Aestimatus.pdf Aestimatus.mp3

sure thing! it's fixed

Oh yeah, i intend!

well that was beautiful. I find myself most partial to the end of the piece, I found myself really desiring a longer phrase, so it was nice when one finally came. I will agree with MJFOBOE that the oboe part did get a little repetitive, but considering the subject matter, and the beauty of the ending as a result of that repetition, I would say it was acceptable. Also I think the MIDI made the staccatos a little extra piercing so I noticed it every time. Regarding the subject matter… real. It’s so hard to keep working to improve yourself and your position in the world, but remember hope is a weapon. I believe in you and your beautiful music.

hello folks, while I'm working on some exciting big projects, I found this absolutely heart-gripping piece by Sibelius. It instantly found a deep part of my soul. I wanted to arrange it as some parts could be instantly imagined in my head. Some others where hard to execute with such beauty as the original performance, but i wanted to try. Original: https://www.youtube.com/watch?v=vD7jiXWqhPs Arrangement:https://youtu.be/vZcKCGwQsrA The Spruce.mp3 The Spruce.pdf

oh i was kidding but i didn't know that.

oh yeah, thats a little better lol

weird...