demonic_advent

I can at least say this... Bach and Handel will go down in history as two of the greatest baroque composers. You... not so much. You'll probably not be remembered for anything, other than being an donkey who posted imitative, boring works in an online forum, but who had no real successes in the outside world. You have no hope for a successful career in baroque composition. Especially since you can only work through imitation... not through new theory. Maybe you'd do well as a politician... yeah... an ignorant asshole who simply copies somebody else's ideas and writes them off as their own! Sounds perfect for you!

Sadly... I didn't enjoy this as much as I would have liked to. It didn't feel very "medieval" to me. And I didn't particularly like your harmonic ideas. I have no issues with atonality... I actually enjoy it quite a bit. I also enjoy standard tonalities... and also the sometimes akward tonalities of Shostakovich, Prokofiev, or Satie. But this was just weird... it felt like it was trying to be tonal... yet harmonically difficult just for the sake of confusion. I suppose that when a guy who likes everything except 12-tone theory has a problem, that maybe there's something wrong. Ummm... there are probably other things I could comment on... but I'm tired right now. I think I need to go take a nap... G'night! :sleeping:

I know what you mean with the dissonences. However, those are intentional. I'm actually a big fan of dissonence... just not too much. And you're right. There isn't very strong melodic material. It's supposed to kind of wander around a bit like that though. I can certianly understand what you mean though.

Thanks for taking the time to listen to this. I do know what you mean about the chords being overpowering... but I leave it up to the organist to decide... does he want the congregation to run away crying by playing this full organ? Or does he want something a bit mellower? I leave no instructions to that effect. Do you have some sort of midi sample that has different organ stops available to listen to midi files with? If so... could you direct me to it? I'd like to see such a thing, as it would help in my composition. The score? ... no, sadly. I do have an urge to now run out and discover how to use Lilypond, or the like, to make a score. But... what I do have is this. I have the .not file that my program generated. If you were to have a copy of Notation Musician or Composer, it could take that and give you full sheet music. I believe they have a 30 day free trial. It can even be printed out. But... if I ever figure out one of those score generating thingies, you'll be the first to know! I'd love to hear how a live performance of this would go.

Haha! I wish I had a counterpoint thing going on! If I had actually studied some counterpoint exercises, things might have turned out better! As for my music... I suppose I try not to imitate any one era... rather, I try to combine many all into my own form. I suppose it might not be evident in this piece, but I were to upload some of my piano fantasias, you could see that I have a modern voice (quasi-tonality is one example of my modern aspects) but with a romantic undertone. I still see music as an expressive form in the romantic sense... but with a slightly modern voice. This piece doesn't really seem to fit into any one category that I can think of, sadly... Thanks for the comments though!

Well... I'm not sure how much there is to say about this one... It's a Fantasia... it's in D Minor... it was going to have a fugue, until I realized how horrible the fugue sounded, and it is supposed to be partially sad, but partially agitated as well. I wrote this one about 2-3 weeks ago... Since then, I've become even more sad/depressed and started writing an Elegiac Piano trio, which is still under construction... and I even started my first symphony, in C Minor... it's also under massive construction. This is pretty much the last work that I've actually completed. Perhaps you'll like it. Perhaps you won't. I'm certianly hoping for the first!!!:P Comments are greatly appreciated! Fantasia in D Minor.mid

Hmmm... my pick isn't on the list... I'd say Scriabin. His early piano works brought a brand new way of voicing music into the genre... and his later works brought about an entirely new tonal system that no other composer has been able to match, or even imitate. ... Although I suppose my 2nd pick would have to be Bach. He was really the father of it all. Without the Well Tempered Clavier, Mozart's and Beethoven's works would have been nothing. Mozart only brought new polyphonic depth into his music because of the Well Tempered Clavier, and Beethoven also studied it himself... ... But Scriabin is still my #1 pick. :P

I can certianly see your ideas... however, they might not be what I had in mind... but the point was to leave it up to the listener to figure it out for themselves, because perhaps in doing so, it might reveal more about themselves. Again, I'll choose not to divulge what I was contemplating at the time of writing... And these are preludes to my grand Mysterium. I plan on picking up where Scriabin left off. ... Just kidding! They are preludes in the Chopin, Scriabin, and Rachmaninoff sense. They're not really preludes to anything. They're just... there. Although... perhaps I could unify all the thoughts into one final idea, creating a large piece that unites them...

First of all: I never said that the 12-tone system was made up out of the blue. However, it's ultimate purpose was to use mathmatical forumlae to ensure that the music produced had absolutly no leaning into one tonality. Thus, it is trying to keep the music random, by avoiding all tonalities and making sure all 12 notes of the chromatic scale are used in equal distribution. At least, that's what true 12-tone theory states. Some have obviously modified it to their own needs. Also, I have no issues with atonailty. My favorite composer is Scriabin, and I like his late atonal works the best. Regarding fugues: They do have strict rules. However, if you abide strictly by those rules with no freedom of expression, you get the crap that 19th century composers turned out in fugues. You need to have some freedom to it. That's what makes Bach the ultimate master of the fugue. He knew how to control it to his advantage, taking the rules and bending them to his needs. To have a purpose is not random. However, that purpose can be random. Making sure that all 12 notes are used equally, to avoid any standard views on tonality is trying to be as random as possible. It might not be random in the sense that it's very structured, but the purpose of it is to make the music as random as possible, to the ears of the listener.

Wheeee!!! Thanks for the permission!!!

Oh... I meant something like copyright restrictions, etc. Some people don't like their works performed in public, because sometimes the performer doesn't always match what the composer was envisioning. I just wanted to check in with that. Other than that, I tend to take liberties with my performances, and rubato will certianaly come out.

Ahhhh... I see. Thanks for the info. Do you have any rules in regards to performances of this work? I might be intrested in learning it... and God only knows that once I learn something it ends up popping up in some sort of performance at one point or another...

Is it specifically for any one part of the left hand? For example: Does it work on stretching between certian fingers? Does it work on certian figurations?

Okay, here's my first question: What is this an etude for? Does it work to facilitate any specific fingers? Any specific type of movement? And how did you go about doing that? The piece itself was very pleasent to listen to. I liked the dark tonalities, and it kept me entertained.

No. I do not hate fugues at all. There is sense and order in fugues. There is nothing but purposely flouting all standard senses of music in 12-tone theory.