Paul Orsoni

I like it but it's not necessarily my preference, the footage was very short and it served me as I could let myself go on following a simple intuition. I am just beginning composing and the struggle between copying the past (what I learned to do) and finding a "true" personnal expression is really present atm. One of my obsessions is the relationship between vision and sound and it's the first work, I can sense it, that reveals something buried inside me.

I put some music over a short video that I found on internet, I want to do more of these what do you think ?

Oh I see like this one for example 😉? I didn't thought about it thanks for the idea at 18:16

Hi everyone, I just did a two day game jam where I composed three variations of a one minute piece, tell me what you think 😉

Hey, my first submission on this forum as a composer. Hope you'll enjoy 👨‍🍳

Hi dronjom, You are facing an interesting question for sure. I wouldn't like my way of life interfering too much with your beliefs or the way you conceptualise the world we are evolving in. I am tempted to say that you experience musical creation in its most immediate way. By singing, by following and reproducing a movement that come from within. As it is a vocal creation, vowels and consonances will commonly appear as these are the tools we have to sculpt the sound using our breath, tongue, mouth, throat etc... It reminds me of the chant that a shaman could produce for example, altough in this case they would come from a tradtition of oral transmission I believe. Maybe it can relates to the music of transe they put themselves or a third party in in order to achieve a particular effect or even communicate with/reach outer spaces. Giving a litteral meaning to what you sing by transforming these sounds into words will be fundamentally a complex endeavor because many questions might be difficult or even impossible to answer in order to find solutions. Whatever the case if you think that something is speaking through you, or if these sounds come from within yourself, they might not be words, the language might not be human, maybe these sounds are concretions of words, maybe these words don't exist yet, maybe it's beyond words etc... If this music is driving you mad because you don't find its profound significance, then it might help you to create a meaning by approximating the translation I would say, find these words that could translate that deep emotion you are feeling when you sing "Stella nūmen a", this way you become also poet. Or you can leave it be and accept that there will be no exact meaning or no meaning at all. Either way you have found a succession of sounds that moves you, it is a little musical pearl just for you. I hope it was helpful ☔

Hi Simen-N, Very nice, it's a pleasure to hear this piece. The three chomatic bridges (b.126-129; b.145-147; b.172-173) seems a bit too long, or too straight forward. Maybe these modulations would benefit from a little bit of embellishment that you would be proud of. I don't know if you want me to go more in details in the score. Just let me know if you want 😊 I hope it is helpful ☔

Hi Quinn, your piece works very well, you have a good feeling, gestures seems very natural. A score is of course always a plus in my opinion as it gives us an other way to access your piece. I am very curious to know wich library you are using for this recording. Thanks for your piece 🌜

Hi Jian, I'd say that 4th is dissonant considered in an harmonic superposition rather than as an interval wether it be in the bass or in the soprano. In Fig.73 b. 7 it implies a chord of Fmajor b4-5 it's actually present in the Tenor D to G 4th as a succession of two notes will be part of a lot of leaps inside a chord (from fifth to fundamental) or common chord succession (circle of fifth, cadences etc...) You won't found, however, both notes of a 4th between to voices attacked at the same time. 4th can appear in certain circumstances from passing notes and results from the incompletion of implied chords [A1]. Dissonnances will be aug4th dim5th, maj7, min7 (from memory I've never seen an interval above the octave in Baroque counterpoint or it would result from exeptionals circumstances). I'd say that, maybe not in Fux's rigorous counterpoint, aug5th is possible if resolved towards the interior of the interval [A2]. I hope it is helpful ☔

You are true about the contrast in the second part and I wouldn't suggest anymore to keep the complexity of the first section or even the atmosphere. Maybe to reinforce these changes in the mood and create an alcove of serenity one could think about evolving into the registers (lower in A higher in B for example to give a sensation of some weight that is put aside or the idea of some kind of light (of course these extramusical ideas are not exactly what we perceive but are connected to some kind of relief)). The other way around (from high to low) could give a sensation of going from something tense, anxious to something warmer, soothed. A variation in the accompaniment of the left hand can also reinforce the contrast. Many things are possible of course and I don't want to interfere too much with your personnal relationship with your piece and being a burden that way. I try to give external ideas to reinforce yours and I hope it can be useful.