kromatozomika

:thumbsup: I like where you went with this! Interesting form; good and sturdy (but certainly not boring) use of diatonic soundmass. There are a lot of entertaining figures for the left-hand to play, so I think this will go over well with fellow pianists as well. I hope you don't mind my printing off a copy to play for my own enjoyment. Thanks again for sharing this! :D

it IS a pointless thread....to be honest i just felt like typing, and there was a box below! dead, dead, dead

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Creative freedom is an actualized artistic ethic to which a composer should aspire (key word), so I vote yes. The only conflict arises in the varying degrees of cultural information and existing work/study which may or may not inform the artist's choices, via personal taste or indoctrination. I think the latter does a lot more to inhibit any sense of goals within the scope of one's sense of personal freedom, but like all cultural information, we are, naturally, free to mature and emphasis or discard any components which are found to be helpful, or not. I can't see any reason to say no to this. But, hey, if anyone here is against creative freedom, they're likely to find other individuals somewhere on this planet who feel the same way - I strongly suspect they will not be on the majority, or really the relevant side of things....Only an informed guess though...

Y'know the whole production thing definitely sounds like the root of it....does Heckel hold some kind of stranglehold on the design, refuse to let others produce it, etc? Or is there another issue at work here... Seems there are a few unusual instruments who experienced a resurgence mainly thanks to a few die-hard enthusiast performers/fans. Take the theremin, for example. It has undeniable historical significance in the development of electronic music, sure, but it's also a very worthy instrument in its own right....It probably wouldn't be considered that if it weren't for a few factors....The dogged persistence of Lev Termin himself, of his students, attempts at mass-production - then much later, the ease of building it oneself from a handful of components and a little electrical know-how...and finally its role in the pioneering efforts of Bob Moog.... Point I'm making here is, there are quite a lot of factors that go into building the popularity of an instrument. It would be nice to see a bit more of the heckelphone now and again, but I wouldn't put money on it - unless its apologists become a LOT more vocal, and a lot more persistent....Having more of them around would help, too - that alone would make me, for one, more prone to writing for it. (In the meantime, I will be posting my theremin sonata on here pretty soon if anyone's interested in taking a look...cough..shameless plug lol) Best of luck with your mission, though, SY656. :)

Such fun! I liked this - I agree with Mael on ways you could expand the piece a little bit. Another thing you could try is developing a small "trio" section , followed by a full recap - it would just be *too* perfect - a slight lyrical constrast, and then a return. Otherwise, I love what you've done - just would have liked to hear more of it! :) Thanks for sharing this :)

I'd recommend listening to as much music outside the ambient genre, as you can...Listen first, find what types of sounds and combinations appeal to you - make notes of these; such information may come in handy as you develop your personal approach to composition. Harmony is a pretty huge subject and covers a lot of territory, but your ears will be your best guide. A bit of background knowledge on the subject will be helpful, though, if for no other reason than to assist you in finessing your harmonies into...whatever. Being a vast subject, there are countless good texts covering it, alone. One of my favorites is Walter Piston's "Harmony". If you wanna check it out..try to snag an older edition of it....But hopefully one which hasn't been scrawled in, all the way through. It's a nice supplement to the listening-aspect, contains tons of examples from well-known pieces....Not the worst starting point, probably. also Schoenberg's "Structural Functions of Harmony", as it puts a different slant on things...Just a couple of suggestions, although I'm sure others who've posted in this thread will have tons more if you ask =) As for melody, well, that sort of depends on what you're interested in writing...Same comments from above go here. Try to notate what you're hearing in your head, examine it and discover what you find most appealing about what you've written...And in summary, just listen, constantly hit people up for suggestions/sources - you'll get there :) Sorry if this got a little rambly...tired...lack of sleep...caffeine...Anyways, that's my two cents or whatever... Best of luck to you, and hope some of what everyone has said helps you get to wherever you ultimately would like to be! :) ...(though sometimes, "the road is better than the inn", no?) Cheers, `k

Magix Audio Cleaning Lab is a wonderful (and inexpensive) tool for such things...very versatile, as well. Allows you to dig just about any kind of crud out of a piece of audio - it's also nice for dubbing any type of analogue material you wish to archive into digital :) Just make a trip over to Musiksoftware, Fotosoftware, Videosoftware vom Marktf

Regina's stuff <3 I'm pretty fond of her earlier albums like 11:11 as well, definitely worth a listen if you enjoy her sound and storytelling.... Oh, and while we're at it.. :) YouTube - Ben Folds - You Don't Know Me (feat Regina Spektor)

Not gonna lie...I love his stuff so much, now, but...The first time I heard "Le Bal" by Hans Reichel, and just the sound of the daxophone in general....It was a srs lolwut moment, especially when the low melody/rhythm hits kick in, BRRRRap, brapbrapbrapbrap, bweee-ooooh, *schnorrrr*!

Okay, first off this instrumentation was a pleasant surprise, and altogether different from what I assumed we would be hearing (fl, ob, cl, fr hrn, bsn traditional wind quintet)...I like the type of harmonic underpinning you're going for, here...With so many instruments playing in the same register (alto/mezzo), you get some interesting effects. A word of caution, though - sometimes, just every once in awhile, the melody (at least on the mp3 - I couldn't get the finale file to open) was in danger of being covered, particularly during the first half - but really sings once you get to the hymn quotation, as you put some intervallic distance between the clarinet and the rest of the ensemble. I was a little bit confused by the constant voice crossings in some sections - for example, in bars 7-9, the trumpets enter after resting for at least 1 bar. At that point, it's not necessary to have the second trumpet spaced above the first, as there is previous melodic motion you are trying to preserve. My advice would be to simply try to remember what approximate range of notes (or degree, in the case of the trumpets) you are assigning to each instrument, to watch the voice crossings, and all will be good :) Bar 25 is an example of where it might pay off to rethink the voicing of that passage - I can see the imitative descending motion you were working towards, which happens between the alto sax and second trumpet - however, the harmony of thirds between the clarinet and the first trumpet does not give your second trumpet a very wide berth while "passing through" - but again, perhaps this is what you intended. Aside from the above issues, and other variations thereupon, I have to say that I really enjoyed listening to this :) Your harmonies and use of a familiar melody were very soothing. Thanks for sharing this! :)

Hmmm, it'd be do-able on Eflat or Picc. Have you considered transcribing a part for one of those two? The piccolo trumpet might begin to sound like it has a cold down there near the low G's, and so forth, but it's a possibility...I'd give it to the Eflat though. With that in mind, the characteristics of the soloist's part make me think of Claude Bolling's Toot Suite (written for Maurice Andre, a specialist on the highest brasses), minus the jazz element...Looks like a nice, light, fun piece though :)

I love me some Shostakovich 7. Until I heard it, I wasn't exactly a fanatic for his work, but that piece made me want to hear more. Very enjoyable. Hindemith - Symphonic Metamorphosis...Definitely not a symphony, and none of the themes are his, outright, but still a brilliant reworking of extant material, with interesting orchestrations to boot. I happen to think the Marche alone is worth the admission :) Bernstein's "Kaddish" symphony, pretty sure it's no. 3...and the Jeremiah one is pretty cool. Lots of fans of Copland's 3rd - add me to them =) Prokofiev's 1st - such fun....not profound as many others have already listed are, but to infuse good humor into symphonic form is kinda rare, I will always hold this one dear :) The list built by this thread is so comprehensive, already...so I'll shuffle off for now.... ~K

rofl, I remember doing something similar the first time I used a notation program (it was probably quickscore...ahhhh them good ole' days)...Because when you get bored of doing something coherent with your midi controller, just go into the piano roll and start drawing pictures lol it sounded so wretched...I could just hear Conlon Nancarrow whirling in his grave :wacko: Btw, Andy, I'm not trying to imply that I thought that's how you did your piece. I listened to it - and enjoyed it very much - especially the percussion bits, but I'll give more comments on the thread devoted to that piece.... Just had to mention =) ~K

No, man, I totally dig what you're saying there - you know the performers you've got - always good to exploit whatever characteristics you can, if you have a custom ensemble for one of your works =) Good stuff.