Michael A. Wiktor

Hi and thank you! I agree w/ you and will be working on it soon. Thank you for the comment. M

This is all I could find: Sibelius Music - Find, share and publish music scores M

Yep, FUN! The MIDI, not so much. :) Very energetic work, uplifting; a great orchestral appetizer to wet the appetite. M

Yep, I will have to agree, very beautiful. As far as "sadness", you hit the nail on the head. Great textures and sensitivity; much appreciated and enjoyed! M

TANKS!:toothygrin: M

How much have you responded to other works? No, not mine. Just in general... But I'm sure Ron would agree, people will most likely return the favor if you comment on their music. Just a thought ... nothing personal. M

.Correct. Hence the ulterior motive theory. Not necessarily deliberate. Absolutely not deliberate. We have to take a moment to understand organic writing. Beyond that, themes are not "buried" but varied. And the "roots" are emotive, not notated precisely. Your interpretation of Corridor deliberately "hiding" is incorrect. I must admit it could be viewed as such with only little exposure; fortunately, Corridor will unwrap it's gifts eventual for some or quickly for others depending on a level of maturity and focus. For a composer, that is quite enjoyable. I hear you - but disagree with the adjective used. s).Your taste is not for Corridor, clearly. But, have yet described the work on a surface level successfully. The author is not the one in a hurry. Think about it in those terms. Usually listeners, not ready for new material, quickly seek some reference of familiarity .I apologize. I misspoke. Not quite a non ending. It's an ending. It's just a questioned result. Thank you J. I am at least partially happy that you could find something within Corridor to enjoy. And also, thank you for your very well constructed criticism. I respect that and have enjoyed this discussion. M

Ron, Wow, a definite feeling of space, grandeur, and suspension. Very evocative writing. Extremely visual in a sense. Also, beautiful lines; not necessarily only melodies, but flowing waves of tonality - awesome. Nice, love that guitar. Great idea Ron! Great use of solo and group voices; especially the cello lines. You seem a bit more tonal; triadic maybe?, ...in a way then other works. An unmistakable "Ron-ian" work with chromatic gestures, but also still new and different. Great job Ron! M

Very beautiful! As for the formula, nothing bothered me. Seemed to flow very smoothly; each time intensifying a bit. Enjoyed the strong themes... I would have to say the strong brass section close to the end was my favorite. Your renderings sound very professional. Ok, the only slightly negative comment I could type is it gets a bit long and stays in the same frame of mind. But that's only my 2 cents. Overall, very impressive. Great job! Do you use EWQL? M

Hey Norby, Not a problem my friend. Wow, that's impressive writtng for such a short time span. Trust me I know what it is like trying to write without Spirit. :toothygrin: If anything comes to mind - I'll let you know. Glad we have a good understanding now. Thanks, M

Yes I have studied music and understand the perception of sound and form. Nonsense. Absolute nonsense. Study art, painting to be exact. The transition, trends; what was once absurd is now highly priced. What was once misunderstood is now clarified and taught. The quality of Corridor is subjective and should not be debated, measured, scored, or ranked. To justify vs. explain pure musical architecture are two separate discussions. I was expressing the latter. Your comment about random note composing is absurd. You may perceive it as such but there is design. Please note my last few posts for more clarification on this side topic. Is Corridor a "poor idea"? Well, to you - yes. And I am comfortable with that assessment. Others feel drastically different. So who is right? No one. However, since I am the author, I will speak on the principles of Corridor, it's construction, etc., with absolute authority on the matter. Nope. Not what I said. Just what you want to hear for argue sake. I write program notes for all my works b/c I enjoy it and it gives the listener a very brief and general glimpse into my writing. It is not a "How to Listen" document. The choice is up to the listener. If you wish to have a score or program notes they can be given as aid if so needed. If you wish to further understand Corridor these tools can help. But you have to make the effort. This is the difference between commercial writing and personal art. Your trite attempt to insult is your weakness. Corridor's purpose is to express a point in life. Upon listening, if you became confused, it is by no means poorly composed, just a new picture in a gallery with new purpose and unique design. Your personal attacks crate a foolish appearance to your face. I honestly, with all my heart, can take this grotesque bombardment b/c I am an artist defending a work. See, now you made sense, but you forgot a fundamental element. This debate is really not about Corridor at all. It's about you. I can accept the above criticism. I obviously disagree and have many times commented why... - but, you speak in absolutes; poor etiquette, especially about art immersed in subjectivity. I hope you do understand, that at the end of this, all you have is an opinion, based on your own personal preferences. So, wow, we could have stopped this "back and forth" a while back when I said - "I hear you, I disagree with you, thank you for your opinion." I honestly hope you grow from these conversations. No, you don't follow at all. The house analogy is a poor one. It's a narrative, a line of thought, a road traveled, where you start is not where you end up, no comfortable conclusions... If this form really bothers you this much, just simply don't listen. And if this was anywhere near mediocre, you wouldn't be rambling on to eventually construct this full length novel about your own personal disregard for Corridor and I without full knowledge. Again, thank you for you interest in Corridor, even if it is negative. I hear you opinion on Corridor. I'm sorry if you did not enjoy it. But I've had a discussion with it, and it's feelings are not hurt. No, to you, it is hard to follow. Also, see program note on site. Thank you. Again, for you it is confusing. We have established this quite well by now. This is really no challenge. OK, then stop listening. We all get it. You don't like Corridor. But you have furthered your agenda. And your intellectual addiction is getting the better of you. Sounds like gargling logic and philosophy here. This is very simple. Yes, you have made statements about your enjoyment. Everything is based on your perception of "good" or "bad". I will use your analogy: To judge a buildings craftsmanship by a few "drive-by"s, without concerning yourself with blueprints, history, and the architects remarks, is blatantly irresponsible, and any further blind criticism, smells of simple personal discourteousness. And as for the "gravity" issue: I'm sure you believe, in what you perceive, wholeheartedly, and to the end. Neither of us can truly comment on this more; unless your omniscient or highly arrogant. But I gave you my simple opinion in the beginning. Do you always carry a map and foresee your true outcome in life? Nope. It is a composition and well constructed. There is no improvising with Corridor. It is a design with purpose. Global coherence is achieved. Satisfaction, after the course concludes, has been experienced. I understand your explanation of how you compose. I have constructed based on your statement in some form with previous works. I hope you understand that we can expand this simplistic approach. Hey, come here. No closer. Really close. (Does it look like I'm ignoring you?) You say critics. I see about 2. Corridor, music, art, life - not about "pass or fail". It's about expression. You will always, in everything you do in life, even commenting in a little YC forum, will have critics, and more importantly, be remembered. Taste is a big subject my friend. Your diagnosis of my problematic approach on bloviating ideologues and unwarranted and blatantly personal criticism, just to win a non-existing debate, is the epitome of your argumentative delusion. Conclusion: Simply, it's not that you are unhappy about Corridor; your upset at my resolve. You, I repeat, you, have made this personal by your repetition. You appear to be an absolutist or an elitist. You will not stop until I see things "your way". That's such an irresponsible use of your time. You know, when you read criticism, the author has the right of choice to accept or disregard. Do you get this? If you do, I believe you will stop. If you don't, you will pontificate once more. Go be at peace my friend. M BTW, didn't you see the comment on your work I wrote recently?

Hey Norby, How are you today? Good, thank you. Well, it's not boring. There are plenty of interesting shifts in dynamics, articulations, and great orchestral color. But, I believe, in my honest opinion, it is a bit "on the nose". What do I mean? Well, when I read the title of your work the music was exactly how I imagined it before I listened. And that's not necessarily a bad thing especially in the game music business. It's a well crafted piece. But, in my opinion, I thing it deserves a bit more variety. Something that would make it stand out. What that certain something would be - I'm not sure - your the author. Overall, you definitely have talent and I'm sure the game & music will be successful. As for the ending. It really didn't bother me as it stands now. M

OK, but think about what you are saying. Who are you? Who are you to be judge? You state such things as if they are absolutes. Yes, it's your opinion; and in art, that is all you have. So, now you have to decide what type of person do you want people to remember you by; one who "spouts off", temperamental, cold, insensitive, and no sense of true constructive criticism? Or, one that speaks with tact and delivers a respectful negative opinion. You really must work on this. It's not about what you say; it's about how you say it. Yes, even if the other person says something like: "take your head out of your donkey" Just think about this for a bit. There are a lot of young composers here that may not be as good as you. It is your duty, as a more advance composer, to kindly criticize, make valid points, offer only as opinion, then help and inspire... Also, not everything you "dislike" in music is caused by your theory of the random note epidemic. Broaden your horizons. My best, M

I'm glad. I'm not your enemy. Even if we have different tastes in music, form, and expression, doesn't mean I can't take what I found good in your work and try to "support" your growth. Please take this into consideration when you reply to others on this forum. You can be critical and kind all at the same time. Or, if the mood strikes you, just comment on only the positive, to help support the artist. Anyway, glad we have a new understanding. Peace. M

Wow! Ummm, actually I just gave you a compliment. I said that your work may want to be expanded, obviously by you, b/c I feel the material desirves it. Please get your head out of your donkey so you can actually see when someone is complimenting your work. Regards, M