BEder

what about "Nine" and "Deal With It"? There isn't any relation, but I did sample from Emergency Room's "One."

Yes! Thank you Serge! I'm so glad you found it funny. I'll strongly consider re-introducing the more repetitive part with lyrics. The piece needs to be longer anyway. F**k Creed! Brendan

Pliorius, Thanks for your blunt crap hole. "...people may not know how to actually employ a critique of one aspect of a person without involving their own feelings or frustration that make a critique negative."

Thanks Salvorix. Do you think it could or would be a lot funnier with lyrics?

Alright! I'm pleased you stayed in there and listened 'till the end. You put a smile on my face.

oh! and http://www.youngcomposers.com/forum/deal-22487.html#post326706

-Learn to write outside of your own pianism (that could help with the left hand). -It's going to take a lot of time and patience to write a good sonata. -Take risks in your improvisations, no matter how seemingly arbitrary they are.

"Deal With It" -an intense parodic nightmare that needs a music video. Please lend me your thoughts and ears. :thumbsup: I've been told my post in "Electronic" belongs here, so I'm just gonna put up a link: http://www.youngcomposers.com/forum/deal-22487.html#post326706

Thanks Pliorius! I didn't know about the whole circle thing. Bigger?! I don't know if I can get bigger than that except for adding length. Attention span is a big issue these days because no one can sit still and listen to music for more than two minutes. Maybe I'll realize my dream of releasing a little cohesive EP including Deal With It. Maybe I should experiment with extending it, so there's that sound collage at the end and then BAM! the heaviest part comes back in but this time it's all "DJ'd" up and there's lots of incomplete bars. That might take it to the next level. I'm also wondering about the mix being too harsh on the ears. Thanks again

Wow! I can't believe you're ten. Forget everything I said. You're plenty young enough to not have lots of articulations and all that! You must be a super talented kid and have super awesome parents!

It's a lot to take in. I think you're on to something in Mov. II m.32-44. Movement III is interesting but the melodies make me feel a little weird. It looks like you need to get more articulations to make sure you're music is performed how you'd like it. No articulations will make your dads orchestra feel strange. If you're not going to put any articulations, you might want to give them some general directions, like detache. Movement V: I'm not a fan of those fourths everywhere but you'll have some great sonorities when a real orchestra plays this. M. 53 is awesome. M66-67 have a cool relationship you should look into. I'm a big fan of your intuitive approach to composing. Try squeezing three systems per page on your scores. Your dynamics are often impractical. You'll be disappointed when the string orchestra sounds really quiet. Edit this score as much as possible before it is performed, because you'll still have plenty to work on after you here it! I wonder how old you are. Keep exploring and take advantage of your opportunities 110%!

It's pretty interesting. Good material. I think you could keep working on it and get it really spruced up w/ twice as much material going on.

This is a recorded composition. This is an approach to creating music that I use just as often as notation. I spent a lot of time on it so please listen carefully and loudly! ANY kind of response and feedback is invited. I recorded EVERYTHING myself and performed everything except for the guitars and a few samples I took from recordings of my old band Emergency Room emergency room on MySpace Music - Free Streaming MP3s, Pictures & Music Downloads and an episode of Tales from the Crypt. The only fake instruments/sounds are orchestral hits and artificial reverb. There's also a sample of a bird that sounds like a roaring dragon. That's actually what the bird sounds like with a little tape saturation and reverb! At the end along with me rewinding and fast forwarding on my 4 track there is a weird orchestral sample provided by the London Phil on their website I used. Anyway, I'm really into over-the-top funny stuff and find the Creed/Eddie Vedder style singing to be funny and I've been mocking it for years now. That melody plagued me for months and I don't know where it's from. I know this site is more about written composition, but I hope we can get past that for a moment. Next time I post, I'll post a notated composition. Thanks! Enjoy! Deal With It last.m4a - File Shared from Box.net - Free Online File Storage

I'm not so enthusiastic about programmatic titles but this piece is well-written for both instruments. The only thing I could suggest would be to use some other sounds/articulations for the cello. Even some grace notes here and there might go a long way. Well done or medium rare; however you like it.

And I try to compose mostly by hand with a keyboard but some pieces I end up developing in the box, which I don't like. I should probably get more efficient with using a computer.