Tyler Menzel

I left the story open like that for the librettist to make it more interesting. I come up with the major points and he catches all of the small details. And let me tell you he is doing an excellent job. M is D is my librettist for those of you curious people.

I am looking for an aria range from F2 and up. As long as the aria does not go above the high D in the treble staff. I want this aria to be a well known one that can be subg out of context. I was thinking of the Toreador song from Carmen but is that an aria because of the chorus? there is a soprano molding at the end but I find it similiar to Habenara from carmen which is considered an aria. Thanks in advance.

About the whole voice range thing.....I sing tenor and I can sing from E2 i believe it is (the note 2 setps above low c) to D5 (the note one octave above the d above middle c) with good sound, and good breath support. And who is this man that said baritones should reach to Ab or Bb? Impossible. The professional range of a baritone is from F-E not C-B. If you have a multiple range option like myself I can see that but not if you have studied voice you work on that range right there and nothing more.

I am entering in the race. I have a few choral compositions under my belt. Sign me up. When is the deadline? I want to get started right away. Thanks.

I love to go crazy. Just to pund out notes on the piano. They say some of the most ugly or mis-understood music is the most emotional. Im not saying yours is ugle......dont get me wrong.....I just think it sounds crazy. Some of the notes in separate hands should be coordinated a little better just for performance perfection sake. If you have 32nd rests then it is very seldom that a pianist may get it right.......amatuer or professional. Just finish the song. If you like then it doesnt matter what anyone else thinks. A lot of composers works when first premiered were failures. Take Bizet's Carmen for example. When it was premiered everyone hated it but nowadays it is an immortal opera that never stops being performed. Hope this helped.

Good job. Some of the chords in there do not really follow the progression you had layed out but hey we are in the twentieth century. Just one thing......The bassoon part in measure 18 or something needs to be in tenor or alto clef. If I was a bassoon player I would hate reading that. Also, as a flutist I would say try to exclude high C's. If this were to be performed by an amatuer ensemble I can guarentee you that those notes would not be played or be played but with a very piercing tone. Just something to watch out for. Unless any flutist has a Gizmo key the note will not sound pleasureable. Hope this helped. Nice job. I like this one better than the first.

I loved the song. It was very beautiful. I totally agree with everyone who said live recording would be better but if you can make it sound good on a MIDI it will just sound that much better in person. I have a question for you. How do you get your music in PDF file like that? I would like to do that. Can you tell me how?

Wow. That was very beautiful. Just two things that came to my mind. 1. Do you play cello? The highest nite I ever remeber a cello playing was a Db in the treble staff. 2. Your ending was a little too abrupt for my taste. You probably feel differently but thats what I have to say. Hope this helped. Keep up the good work. I would love to hear the work finished and performed.

I did not say it lacks musicality. do not put words in my mouth. That is how you become an enemy. This is obviously your style I just dont hear a theme. This piece does not follow any sort of pattern as a theme usually does. It could be because this piece isn't finished yet but I did not say it lacks musicality. Your song can be played expressively and has te ability to become very, very musical but until It is finished I cannot say anything more.

I just have one question. Where is the melody? It sounds like your just composing this piece for it to be difficult. Musicality should always come before technicality. Sure, you may compose a song for a proffessional Violinist in hopes of making it difficult but come up with a melody first then branch off that and make it difficult but there should always be a theme in ever part of the song unless you are transitioning but that is all I have to say. Hope that helped.

HELP!!!!!!!!! I need an experienced librettist to write liberetto based on one of two plays by Shakespeare. If you could e-mail me at Musician91@sbcglobal.net with a list of your experience (e.g. what opera you have written liberetto before) and your rate for being a Librettist. Thanks a bunch.

Well, first off I would like to say that even though they may seem un-tuned...Most percussion instruments are tuned to or around a certain note. Bass Drums I believe are tuned to somewhere around a G unless someone messes with the screws on the sides of the bass drum then it will be more like a micro-tone. But they do not have a key signature and are usually used for rhythmic purposes (keeping the tempo, filling space, adding flavor to a piece) As far as what to use when....... Crash Cymbals- to accent or make a certain passage come across more to the listener. Suspended Cymbal- To build up a phrase or passage or to accent it in a slightly different manner than the crash cymbals. (usually used with soft mallets but you can do things such as striking it with a drum stick, or using the handle of the mallet to produce a sound. Tambourine- This instrument is not tuned on or around a note and is usually used to lighten the mood up a little bit or to darken the mood....It all depends on what the composer intends...(haha...that rhymed). Bass drum and snare drum- these two usually go hand in hand. They are the keepers of the tempo and the overall drive of the song (when present)...use carefully. Cool tricks- A cool "trick" you can use to add a weird, creepy, erie sort of mood is to take a violin bow (what string players use to make sound on their instruments) and apply that to a cymbal or to a set of bells (marimba, xylophone, bells) and it makes an awesome sound that adds a creepy edge to your music. Hope this helped.....If you have anymore questions dont be afraid to ask.

Can you name me some opera's that follow this plot line. I am curious. And so what if it is like a soap oepra........Its about the drama. And the opera takes place in Italy. If you recall any of shakespears works he does the same thing I have done. Also, Carmen.......the opera.......Takes place in Spain...but is in French. Romeo and Juliet......takes place in Italy......it is an english text......is sung in French. Madame Butterfly......sung in Italian.......takes place in Japan. So as for that........hope that cleared things up.

So I have started a new opera to an original story. I have had a few people read over the plot and they say that it sounds very dramatic. So here is the Synopsis: La Pazzia di Amore (The Madness of Love) Act I- After a hard day in the field, the workers of this small village are overjoyed to hear that the war in Italy is over. One of the soldiers, Aberto, returns with his friend Alfredo to spread the news. In light of this news, everyone gathers in the local pub for a drink. Meanwhile at home, Gabriella is infatuated with the thought of her childhood sweetheart Aberto. After a conversation with her maid she ventures out to look for him and confess her undying love to him. After searching the pub, Gabriella sees no site of Aberto so she heads to her friend Patrizzia

This song repeats a lot. If you listen to my music I write in a french form which repeats the opening them after a little break then goes into another section then repeats the main theme again them an ending happens. With your piece I feel as if you repeat the main theme about 4 times then go to a different section altogether. It's ok to keep the sixteenth notes throughout the whole piece just not the same motif over and over and over. Other than that, good job. Hope this helped.