Carmen Hunter

I'm putting the pieces i'm submitting into Sibelius and formatting them today! One of the other pieces i'm submitting is definitely more out-of-the-box harmony-wise, so hopefully they'll be able to see that I can do both. Yeah, that's the hard part. But i'm going to work on that today as well! Thank you so much for your input 🙂 @LayneBruce

Hypothetically, if you were doing admissions at a music school and I, an inexperienced but very enthusiastic High School senior, submitted this along with another (choral) piece, would you want to let me in to your school? Just a hypothetical. There's a few last minute changes I still need to make to this one before I submit. It's definitely one of my busiest pieces and i'm not a good piano player so i'm having a hard time editing this to make it playable without compromising my vision. Please let me know your thoughts (preferably before Sunday).

I started this piano a piece a few days ago, and now i'm stuck. I don't know how to continue the song without too much repetition or another fun key change. Thoughts? Ideas? Anything?

Hey, yc, it's me again! 🙂 For the past few days I've been editing and finishing this SSAA piece that I started in May. It's based off of Catullus 85, which is available here. I'm pretty happy with the sound of it, but I think there's still some editing to be done. Also, I'm stumped on which key(s) to set this in, as I've always kept in in C. I'm not sure if it would be more or less convenient for the singers to have it in multiple keys, or to leave it up to their own interpretation. I've attached two audios, one with the automated piano (p) and one with the robot voices (v). Please let me know your thoughts!

@pateceramics Thanks so much!

@Monarcheon Thank you so much for the input! Thanks for bringing the weird cross-voicing on page 2 to my attention, I didn't even think about that (whoops). As far as the rhythm on "against" goes, I'll think about ways to change it to fit normal word stress, as that's probably something I should do with a few other sections as well. No, I guess not. I rarely write things that are supposed to be one thing or another, but now that you've mentioned that, I'd like to compose a chorale to work on my voice movement. I usually just write chords using the piano and split them into SATB lines, but I understand why that can be problematic. Damn it. Thanks again for your help!

Hey yc! I've been working on an SATB piece based off of Ralph Cheever Dunning's Poem called Driftwood. This is just a draft, and there's still some things i'm not happy with (and a serious lack of dynamics), but i'm hoping I can finish this piece and add it to my portfolio in a few months. :^) Please let me know what you think of this piece, and how I can improve it. Thanks. P.S. If you'd like more info, or if you want the piano version, let me know and i'll hand it over. P.P.S. If you'd like to perform this piece, please let me know. It'd be super cool to hear this with human voices!

Hey yc 🙂 I recently watched a really great interview in which Jacob Collier explains the super ultra hyper mega meta lydian scale, a concept that really sparked my interest. I was curious to know if any of you have any examples of the super ultra thing in music, or know of any super good applications of it. Thanks!

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I started this piece with the intention of trying something new and composing something a bit out of my comfort zone, which so far it's doing just that. Obviously though, it's very unfinished and it has a lot of polishing to do. For example, there's a lot of random whole notes in this piece that are just there for the sake of building chords and the switch into the B section seems a tad abrupt, though I think I like it that way. I'm curious as to what you guys think, please be brutally honest! But keep in mind that I am not a pianist in the slightest! I normally only compose choral music and I know that some of this couldn't actually be played how it's written. Anyways, please voice your opinion on it so far and if you have any ideas as to how I can improve on it and/or how I should continue it, do let me know. Thanks!

During one of Eric Whitacre's interviews (in this video, at 6:19) he briefly mentioned that as a result of him living in England, his music started to "sound more British", which I thought was an interesting concept as i've never considered my location (Texas) to influence my music. If you've noticed a change in your music after having a drastic change in location, or if you believe your location influences how/what you compose, please let me know! I'm curious about y'all's opinion on this. -Carmen