Mooravioli

Hello Evan, After reading through your post and listening to the music, I can feel a lot of struggle and suffering, as well as descent into madness(portrayed quite vividly in that last chord). Especially living alone, My biggest fear has always been to wake up one day and realize I am trapped inside my body. I have to agree with Peter's last post that this has a unique sound-world, but it is also a haunting one. Although a few sections are a little too gritty to my ear(high-pitched winds), you've incorporated so many novel techniques worth exploring, and perhaps I'll incorporate those into my pieces too if you don't mind. Really hope you get better soon.

ello everybody, I've spent many months working on three short new piano pieces for beginning to intermediate students. These are originally intended for children to play, but could also be for beginning adults. In these pieces, I've also tried to discover my own voice and style, do let me know how I've done in those areas. Other feedback related to technique, harmony and playability would be much appreciated. Poem 1: "based on a theme by Beethoven", updated score Poem 2: "the quirky detective", updated score Poem 3: "the crazed capybara", score

Hello Henry, A very Schubertian piece you have here, with effective shifts between different textures and meters. Lots of smooth voice leading in your chorale too, though I detect a few parallel octaves in the inner voice, which is unimportant in the bigger picture. I see you are quoting the theme from your 1st "pastoral" sonata, are these two pieces (intermezzo and musical moment) suppose to be a summary of your old style? I don't think you are striving for too much originality here, but I do hope you translate the originality you've achieved in your sextet into your smaller pieces. That way, you will be able to build a style that is recognizable across many genres.

Very interesting work, Luis. Seems to have a lot of your harmonic language interspersed in there as well which makes it a good, captivating blend between the new and old. The orchestration also sounds quite clean and well judged; I especially like the harpsichord with it's rhythmic backdrop. Appreciate you going the extra mile and providing us with the chord labels.

Oh darn, sorry about that, brotha, I actually gave a second thought about your question and guessed that you might have been asking about the score animation. This isn't actually a playback but you'll have to go into an editing software to edit the notes frame by frame. It works differently depending on your style, I believe Wolo Wolo Wolo gives you a very good tutorial on how he creates his animations in this video:

Henry, many many good things in these two movements. I can hear a lot of pain, and remorse but also rebirth and transcendance which is a rather unique emotion to explore. There are so many extended techniques here, but they all serve the narrative of your story. I regret to say that I am not a big fan of fugues, and couldn’t get to reviewing the fugal bits of your work since it was so dense and harder to understand, but it definitely fits the story well. I tend to prefer fugues with greater rhythmic vitality and interest since it gives the textures and lines more clarity. The transition into the giocoso is wonderful, and the climax is so energetic and blissful. The transitional material into the coda is also done well, representing the final transcendance of your character, almost akin to swan lake. I have to say there is a real depth of expression there.

Hey brother, it's actually just your basic Musesounds, but I added a lot of reverb to the instruments. I've also discovered a few compositional techniques to make it sound better. Thanke for checking in.

Hello Henry, A lovely intermezzo based on a theme from your second sonata, was there a particular motive for quoting yourself? you've incorporated many compositional techniques organically such as phrase elision and counterpoint, and as with many of your compositions, you never sacrifice emotional expression. I don't really have anything to comment on, just enjoying the piece for it's optimism. good stuff 👌

Hey man, thank you for this wonderfully detailed reply. I appreciate your insights and can tell you have a passion for the production process, perhaps soon I will upgrade my production quality, but it will still surely be inferior to yours since I don’t use a keyboard to compose. It is quite true that those “imperfect” elements add to the realism of the orchestra. You should check out blake robinson’s synthetic orchestra, I think he has a similar attention to sound details as yours. Also I have subscribed to your channel, it is too underrated. Look forward hearing to more works.

no pressure at all if you can't get the score. The BBCSO seems to execute those extended techniques very well, in addition to sounding quite realistic. I am simply looking for ways I could improve my sound production without having to rely on musesounds all the time. Is the BBCSO VST compatible with musescore?

great production here, is this the konkact soundfont you are using? I hear a few echoes of Liszt's Totentanz, but the Dies Irae is developed in a completely different manner, in regards to style, orchestral technique and harmony. If possible, I would definitely like to have a look at the score since you seem to be using quite a few extended techniques; it is wonderful to hear how all these "avant-garde sounds" could be incorporated into tangible, colorful music. good stuff, brother👌

Final Version + Animation of this piece:

I have to agree with Chopin’s comment. You are really building off this microtonal idea, I don’t even know what subminor 7ths or 1/3rd tones are tbh. There’s still a bit of acclimation I have to go through with my ears but this would fit a sci-fi movie or video game very well. Tight construction of different motives as always, and especially liked the chromatic ascension into the new theme. Good innovations happening here.

Whoa Henry, Seems like I am late to the party again... But whoa, you are really beginning to develop your original style with this movement even if it is quite Chopin-influenced, a sharp contrast to the more Beethovenian first movement. The pentatonic melody in the last refrain is so magical, reminds me of those beautiful Chinese pagodas which I have yet to visit. As Peter mentioned, the repeated chords do get a little pompous at times, though you seem to be experimenting a lot both with rhythm and harmony. I do have to note that this section actually makes the leggiero sound so much better(contrast between light and heavy), so I wouldn't suggesting making any changes if this is part of your mind game. I really appreciate you incorporating more folk elements into your work, I think it will help with discovering your own voice. May I ask how many hours you practice per day? Its been so difficult to motivate myself to play piano recently; I feel like focusing solely on my future day job(if I can find one) and composing after I graduate. Look forward to hearing the 3rd and 4th movement.

Hello Henry, you asked for a crazy post: 🧙‍♂️ 🧙‍♂️ 🧙‍♂️ 🧙‍♂️ 🧙‍♂️ 🧙‍♂️ 🧙‍♂️ 🧙‍♂️ 🧙‍♂️ 🧙‍♂️🧙‍♂️ sorry for the late reply 🤪 🤪 🤪 🤪 🤪 🤪 🤪 🤪 🤪 🤪 😑 The sound quality is definitely improving, kudos to you on buying a new microphone; since the tone is now much sharper and intense, I would exaggerate the dynamic changes a little more if you're going for this sort of microphone placement. But as others have suggested, putting your microphone farther away could produce better results. As for your short piece, I quite like it, reminds me of those pieces from the Trinity or Yamaha Piano curriculum, not that it is a bad thing. On that note, maybe you could have your students play a few of your pieces. I'm sure there is a lot to learn in regards to technique and form. Here's what I found about playing your own pieces in an exam: https://teacherhub.abrsm.org/mod/page/view.php?id=1473 anyways, 💪 💪 💪 💪 💪 look forward to your new compositions