Gwendolyn Przyjazna

Hello! I'm interested in submitting a fugue. I should have it finished over the next few days.

Hello Rich! Thank you for taking the time to listen. I think a countermelody would be a great idea. I have the cellos on the bottom part (there are no basses) so I would probably add a viola line. It would give the piece more of a dramatic arc, maybe. Thanks again for your kind and helpful comment! ~ Gwen

Hello Elias! Congratulations on making it into the Estampas de España selections! I like the pensive mood you created in this piece. It feels both modern and timeless somehow, like it could fit in a variety of settings, but the open voicings definitely evoke for me the way the paintings show the essential elements without excessive detail. I also hear the twisting of the animal figures in the changing harmony. I hope you keep up the good work. It's a pleasure to hear this musical vignette in full. 🙂 ~ Gwen

I thought I would share my final project for my theory and composition course, intended for a contemplative short film with no dialogue. Instruments used: Alaska Sweeps, Mellow Grand Piano, Sad Strings, Drawbar Flutes, all from HALion Sonic. Around 1 minute I made use of retrograde, but otherwise the melody is free of elaborate development techniques. Please let me know if there is any way I could improve this track in a strictly compositional sense. 🙂

Hello! Thank you for the kind words, and sorry for the delay -- I just finished the Spring semester of school today. I just posted an alternate version of this piece on my SoundCloud with a synth pad I thought was interesting. It's a bit "thicker". I would love to hear any thoughts if you feel moved to listen. https://soundcloud.com/gwendolyn_przyjazna/the-solitude-of-summer-alternate-version

New version with synth ("Wave Turn Around" from HALion Sonic): https://soundcloud.com/gwendolyn_przyjazna/the-solitude-of-summer-alternate-version

Thank you so much for your recommendations! I already have the BBCSO Spitfire Symphony Orchestra. I will be sure to check out their other offerings. 🙂 Good luck with your revisions!

Hello there! This piece really stopped me in my tracks, my goodness. Your style feels very unique and personal. I thought the metric changes did well to bookend the first and last lines of the poem. Even though it captures indeterminacy I hear a mastery of form. My favorite section in the piece is your repetition of "paradise"; the chord changes really embody that word for me while being inescapably melancholy, maybe because you never overindulge in emotion. I wonder, what were your thoughts behind having dotted eighth notes and sixteenth rests in bar 51? As a cellist I am used to seeing "detaché" written out or a tenuto mark over a staccato mark, which each give slightly different feelings, but I am curious what the psychology was behind your choice. 🙂 What instruments do you play? One other thing I thought I would mention is that there is clipping at bars 46 and 47. Do you know how to address this with a DAW? I thought you would appreciate knowing especially since that moment is so climactic. 🙂 Thank you for sharing this truly beautiful and poignant piece, and also for introducing me to a poet I didn't know. ~ Gwen

Hi Layne, This is really rich and wonderful. I like how the extended phrase of your theme just sort of floats. The harmonic colors and mood change gradually, which is really nice; it makes me think of leaving one's hometown behind and and journeying into a vast plain, further and further from the center of civilization. The stratospheric sustained notes in the violins are very cool. I think by 3:00 I am ready to hear something change in the repetition of the main theme. Perhaps you could add a countermelody under the melody with notes moving in the opposite direction. I agree with Henry that you could definitely afford to expand on the contrasting sections without losing your foundation. Also, I'm very envious of your sound libraries. 😉 Keep up the good work, and I hope you're feeling better these days! ~ Gwen

Hello Peter! Thank you so much for your thoughtful feedback! I will consider recording the rhythm part on electric piano. I tried it out really quickly in Cubase. I came up with every chord at the guitar but my skill level is elementary and I agree that an electric piano might be an improvement -- especially a softer timbre. I'm glad this tune evoked a clear atmosphere for you; while writing it my mind went to taking walks around my California neighborhood in the morning with the sun being very strong. It kinds of melts any thoughts away and maybe that's why if the music sounds circular. I'm happy if the conclusion sounds solid; I struggle with endings in general lately. :S The assignment was: "Compose a short piece of about 32 bars in length in AABA song form that modulates to a distantly related key and then returns to the original key." Other than that it was really open-ended. 🙂 Thank you for listening! ☀️ ~ Gwendolyn

I wanted to share a recent project for school; I wasn't quite sure which forum this belonged in. It sounds best on headphones. I would love any feedback; this was made entirely with Cubase virtual instruments so the rhythm guitar might be slightly annoying. That said, I would love to make a proper recording of this piece in the future.

Hi, Nazariy! This is a beautiful piece of work. I really enjoyed all the dynamic contrast in the B section. There are moments like 2:25 where I wish I could hear the clarinet just a bit more, but perhaps it was your choice to have it so closely intertwined with the piano. Thank you for sharing! I can hear the joy.

Hi there! It was a pleasure. I will be sure to check out your YouTube and your SoundCloud in a bit; thanks so much for sharing them. I bookmarked your Orchestral and Large Ensemble post. 🙂 I'm a film scoring student and I also happen to do mainly orchestral and traditionally instrumented projects (with the occasional synth piece here and there, similar to you), and if your new piece has a Lord of the Rings vibe I'm sure I would really enjoy it. Glad we could connect!

Hi, @Layne 🙂 Really imaginative piece! I was immediately hooked on the delicious harmonies and I am even more impressed if you're relying more on intuition than theory knowledge. I didn't find the chord voicings too sparse personally -- I think they work well in this style of music, and they were fairly consistent throughout the piece which I again think is no problem in such a short work. If you still wanted to thicken the texture at all, I wonder how it would sound at the end of you doubled the lead in octaves. It might be a nice strong last impression to leave the listeners with; I have heard it done for effect at the end of some short pieces -- just an idea. Well done! And, that's awesome that you played the cello for a few years. I played throughout my high school years. Would love to get familiar with more of your music! Have a lovely day, Gwen

I agree with @MisterWesley , and I would add that it's good to pay attention to the proportion of a cadenza to concerti of varying lengths. When I hear "2 mins and 15 seconds", I think that is a perfectly reasonable length on average but I do not know the length of the rest of your work/movement, and you may be able to get away with shorter or longer. I would suggest specifically comparing your work to well known works of about the same length, and maybe in the style and time period you're emulating (if you are). I hope that's helpful. 🙂