sevanism

Thank you very much for the comments and for listening! I agree with all of them actually, very helpful. I have reworked the intro and some following parts, but since it isn't finished I'm not going to post the changes. Sorry I haven't responded sooner, I'm going through a crisis:sadtears: ...I quit piano like 8 months ago or so to compose, and I really don't think I can live without it any longer. I've been in pain since and it's only gotten worse. It's life to me! I have to go back. Has anyone else had to give up an instrument?! HOW CAN YOU LIVE WITH THAT?! unfortunately my personality is too extreme to allow me to do both.

The underlying idea is worth keeping right now if you work a lot on it. Did you consider them more or less finished after a half hour? It sounds to me like you found your melody, put the obvious correct harmony with it and quit. Explore things beyond the key. It doesn't have to be atonal or whatever, but I feel like I'm listening to a scale with rhythms and figurations that sound like you're practicing a scale sometimes. I would recommend looking at your melody and seeing what you can take from it. You have the basic idea now, develop it into music, don't just write down the original idea and call it finished. For instance, the upward direction of your melody has so much potential to lead to something beautiful! Look at different possible arrival points for it, maybe add in a few sweet sounding minor parts, or use just fragments of it to lead elsewhere for a while and make us WANT the return, it will feel better when we get there. THE MOST BEAUTIFUL woman in the world deserves more time!:P Keep up the work!

can you post a midi file?

This has great energy! I love nymphs...and here you've put them in a musical world I never expected to find them, it sounded like they were in Egypt. Must be the modes. I think it works. Sounds almost more like a wild orgy at a Bacchus festival! Of course, there were some midi things that threw me, like certain drum rolls that would be fine in a real performance I think. I haven't played violin for a while, but this didn't strike me as too difficult. That doesn't mean I don't like the music! The parts blended very well, maybe a devilish cadenza, or more violin sticking out somehow would make it sound more like a concerto-but I like it the way it is.

quit commenting to yourself, it's embarassing consign this to the oblivion of which it was born!

YOU HAVE CREATED A NEW MUSICAL WORLD!!! the lack of response is unwarranted! but it's ok, you're a serious composer--just post chopin's revolutionary etude at twice the speed, add hell to the title and call it your own, and you'll get plenty of helpful feedback. quit trying so hard and someone might at least let you know how much they hate you!

I movt The main thing I noticed is your transition at 2:00 came just in time to save the listener, good timing. From your description, I think you accomplished your intent of a baroque/classical mix. I couldn't tell about the organ clashing, but i think you could use some more relief, more without organ (and in the third movt especially, but it might sound better with a real organ, it's presence was very unwelcome in the third movt), it was overall too constant for my taste in the first. But keep in mind my taste is not friends at all with the classical period, and although I like Baroque better (especially Bach), it's not my thing either. So I'm saying what I liked instead of suggesting very much. II movt. 1:15-1:35 is my favorite. At 1:27 I was afraid it was going to belt out the tonic over and over from that point on, then the chord at 1:32 was amazing. III movt. Other than the organ comment, I would say congratulations on writing a fugue. It wasn't very adventurous, and yet it kept the overall mood of the whole work. Maybe that's what you wanted. There might be a way you could look into orchestrating it differently so the different voices/entrances etc. are more easily heard. If you hadn't said it, I'm not sure I would have picked up on it being a fugue. Maybe you want that, but as cool as fugues CAN be and as difficult as they are to write, I think you should make the voices more distinct, which would also add a nice contrast to the sinf. as a whole. This does sound like fun. Good work.

I'm excited to hear what you're working on next. And as I said before, I think you accomplished what you set out to do with this one. Why did you decide against sharing it with the person you wrote it for?

Up to 8 seconds, it sounds like the first half of a melody. After that like a secondary melody. the two parts don't fit that well together side by side, although they are related enough to be in the same piece. Maybe it's just me though, because I kept wanting the next part to do the dies irae, so it was a little frustrating, it came instantly to mind so that's a problem you might encounter. I'm not going to say much about the rhythm at the end since I'll need to hear more. This has a folk tune/battle hymn feel to it. You could make a rhapsody out of it, maybe an Iceland Rhapsody? Cool title anyway, better than WIP, you'll get lots of views! :D

Cool, this one makes me smile. I feel like I'm at a hoe down. Fiddling away in a quartet! I feel a freshness and good energy in this. Interesting use of fugue like movement, voice imitation, whatever it is you've done. The notes dance! Other than agreeing it's too short, I'd suggest at 1:06 not holding that first chord, just the one following it. It lost too much energy there in my opinion, but holding just the chord at 1:09 would prepare enough for the outburst at the end. I liked the rhythmic variation at :48, and the repeated notes at :55. One idea for length would be exploring some different keys and registers, since the whole thing feels like it's in one general area. What do you want the mood of the overall quartet to be? Will they all be as playful as this one? Maybe a death at the hoe down is in store? Or a mystical old fortune-telling farmer?

another update:whistling:

Please check out the update:)

J-, sorry about losing the page! I hate it when that happens. Thanks for taking the time to re-write. I've wondered about that note (it's Bb if it's the one i'm thinking) as well, these are the reasons I've kept it so long. The same thing happens throughout the majority of the first 4 minutes but you can't hear it very well after the beginning, and I think this lets you sit in the mood somewhat, wonder what will happen, and subconciously prepare you for the rising effect--but again, if it's boring, that will be lost. You noticed it, so I'll keep it in mind. I like the idea about throwing in a sweet section. Right now I'm thinking about constant building darkness until breaking through to light to enhance the relief, and allowing me to sustain the new mood longer. And finally, I couldn't agree more about the dynamics and expression! I'm afraid it will have to be imagined. I'm using a free-ware program with limited capability and the worst sound on this site. I'm happily poor. I teach piano privately for a living, and only accept the number of students I NEED. haha.

ha, thanks for taking pity. i hope you're listening to the update in my last post...you'll need 4 minutes AND 32 seconds. to be exact.

I thought it was ok for background mood music. I don't like background mood music. But you did that well. -I have to get this off my chest after reading the comments. All these comparisons to Chopin, and saying it has a similar effect is an injustice to Chopin and then saying "it's been done before" as if this is Chopin worthy. I didn't sense him in the music at all other than moments of cliche caracature. If that's all that was meant, sorry for over reacting. I hope this doesn't offend you. I think you did a great job accomplishing what you set out to do with it. As others have said, you do have great talent and an ear for this sound- for flowers smothered in flowers (opposed to Chopin's "guns smothered in flowers")