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I should specify: can you identify this aria from a seconds-long clip I grabbed. I've attached it. I'd love it if anyone could help me out. It's a lovely piece, but I'm terrible with deciphering lyrics and can't search for it that way. Thanks =] R09_0061.MP3

um, actually i loved this. wasn't boring for a second. i especially liked the harmonics (or it sounded like harmonics, i think) near the end.

thanks, all of you. this is incredibly helpful. =]

i think this is the right place to ask this. are there any "rules" for determining which enharmonic notation to use in an atonal piece? i'm trying of course to make it as easy to read as possible, but i feel like my being so well acquainted with the thing makes me not such a good judge of that... i've looked at some Ives pieces for piano, briefly. i did notice that he'll tend to stick with, for example, only sharps in one measure/phrase, and natural a note when necessary. is this a good example? any advice anyone can give for making a keyless piece easily readable would be much appreciated =]

that was absolutely beautiful. i loved it and would buy your CD. that's really all i could tell you :mellow: i definitely agree with the person wot said you should consider this with a set of other short piano werks. not because this doesn't speak on its own (just the opposite is true), but because i would love to hear it basically, asidfuhasdfnalxkjnfkwae.

first i want to say that it's a beautiful piece, played beautifully too. =) whose eyes did you write this for preposition? i'm sure this would mean the world to them. the harmony was gorgeous throughout, i loved the twingey dissonances you had in spots. if i may type some stuffs i noted, though: at parts i felt a few awkward transitions from one "part" to the next.. honestly i think for a piece like this i shouldn't be so able to identify "here's an idea he had for a few bars, now we've begun the next idea for a little while".. if that makes sense. I think you could do a lot with working to make a piece like this one solid musical "entity", which isn't to say you should only have one musical idea, god forbid, because an entity is made up of lots of ideas. a wagnerian opera is an entity just like a short piece for guitar is. but they both exist coherently where all their ideas are put together in a way where the "entity" can stand on its own legs, the heart beats properly and pumps blood, etc. etc. etc. blah blah blah you get it. (i scribbled down measures 14 33 and especially 46 for this) so if you worked with that in mind maybe it would have more a sense of.... togetherness, where one idea leads smoothly into another in a way that makes sense and in the end ties itself together (or pointedly doesn't, but always in a way that makes sense) (speaking of endings, i thought the ending line seemed markedly 'apart' from the rest of the material, but i also thought this is gorgeous i love this oh god why are you stopping don't make an end-y chord i want moreeee. you could easily take the melody beginning at measure 74 and make an entire new piece out of it and i would devour it.) but yeah even with all that to say, i really enjoyed listening to it (several times even =o) the music in you is tender and moving and i would be so glad to hear more from you =) edit: just an afterthought, listening to it again i think it would do a lot of good for this piece to be performed less... rigidly, like not adhering so closely to that particular tempo. it would do a lot of good to just in general let yourself dig into it emotionally and take all the time you need for each note to sing and count. kay done now

i love sweeney todd. i love. sweeney todd. so. much. asdf. can someone vouch for this for me? because i've suffered a lot of cognitive dissonance for a long time about how much Sweeney Todd "speaks" to me and resonates with me and how much every other broadway musical completely doesn't. (i mean i enjoy broadway but it's like entertainment, you know? every other one EXCEPT this one. so - would you say that it's because Sweeney Todd is "just that awesome" and not because i'm missing something in other musicals? i really agree with what everyone has so far said about the movie with regards to: downplaying, removing and/or missing the point of the music, (missing the point of a lot of things), actors who sing okay-ish, etc... at the same time I do feel like there do exist cool things that you can do with it that you can only do in a movie, if you do it right (and not just stuff like a rehashed corpse bride visual style) like: the part (in the movie) where mrs. lovett says softly over mr. t's shoulder something like "we could have a life us two. maybe not like I dreamed, maybe not like you remember. but we could get by." and then he turns around and they look at each other it has nothing at all to do with the music, of course, but the way she whispers it, the way they look at each other, and the way they're able to give a moment of such quiet desperation and sadness -as actors- couldn't have worked in a stage version, i think still yeah movie completely missed most of the point :mellow:

I feel like the transition from the arco strings bit (after the pizz.) to the main theme about 3/4 of the way through was a little awkward... The rest of it moves really smoothly, though, not at all difficult to listen to. =) but while it's catchy i feel like it could be developed a lot more. like, you've given us this really cool idea, but then it ends, and... bwuh? i wanted more of that. that's basically it, actually, "i wanted more of that". +_+ not necessarily in length but I'm dying to hear what you can do (explore, develop, play with) with a great starting point of ideas. ps. i can hear Air when you've told me beforehand it's Air, certainly... my very first impression, however, was "this sounds a lot like that bit in Titanic". o_o

i wouldn't worry too much about it being repetitive in the beginning. it's a really cool and effective riff to begin with, and i like the pace with which you built it up/drew back, etc. where it lacks in harmonic variation or whatever, you managed to give it a great drive. kept me listening all the way through and i was kind of disappointed there wasn't more (kind of just drops at the end, actually.) would you say this was mostly improvised? it has that kind of sound to it.