New general, last 404-ed, I thought threads like these are archived forever, I lost some feedbacks I didn't screenshot for me to remember when times get rough. Oh well.
As always, talk about music composition, post clyp.it's of your works, get and give feedbacks. Any genre is welcome.
- Your one and only, OP.
So, I've been working on this for a few weeks, I think I spent too much time on it given its length and I'm not very happy with that fact.
https://clyp.it/unxi2noc
I have to post it unfinished because I would really need some feedback. I feel like I started over complicating and heading in wrong directions. 2 questions:
1) Can you understand what is going on in the part 1:00 - 1:11? I feel a listener can't figure out easily neither of the melodies. Is it too chaotic and can you give me some solution?
2) 0:15 - 0:35 part : still WIP, switching from 4 beats to 3, not sure how that will work. I was wondering if I should ditch it completely, I kind of like the theme, especially at the end of that part, but I changed musical periods. I wanted some contrast to two fast themes.
Any feedback appreciated.
>>60518267
I like it
1/ It's okay for me but i kind of like chaos so you might want another opinion
>>60518629
Thanks. Yeah, I'm interested in a few more opinions on that, I don't know what to do.
That aside, it's a sad feeling when you make something that you really like and than after a few days/weeks you don't like it anymore at all and start to think you don't have what it takes.
I don't know man, I'm not in music college, I'm doing this in my spare time, quite a lot of it actually. I don't know if I have a potential.
bompity
I really liked it, I think that the silence before 0:15 is what kills it, you should find some transition.
>>60520750
Thank you for your feedback. Glad you liked it. Yeah, that pause is bad, I'll fix it for sure.
>>60518267
I feel too uneducated to give you any constructive criticism but for what it's worth I think it's really cool
>>60518052
Idk if this thread is more for classical style composition cause my shit is really simple in comparison, but I've been messing around with qunituplets in Guitar Pro, I haven't really heard them used outside of percussion music. Everything on the violin is in quintuplets, and I can't decide if they sound interesting rhytmically or if the average listener would just think they sound 'wrong' or uncomfortable, especially at 10 seconds in when I start adding rests https://clyp.it/schptdv4
>>60521284
It's odd, huh
I don't really like it t b h
By the way threadly reminder that /comp/ questions belong in /prod/ when there's not /comp/ thread available/active
>>60521624
I think it might mostly be down to conditioning though, since we're so used to rhythms that are either in groups of even numbers or threes. But then I guess it's not really good if you need to listen to something a hundred times to feel it, plus it's probably a nightmare to try and play kek
Also
Here's 17 minutes and six tracks of GP6 atmoblack with like 60% ulver 40% alcest, cute clean guitars and flute and one day i'll finally find a guitarist i swear
What do you think of it?
https://clyp.it/qfkq4mp0
I posted an unfinished version of this sometime back. Well, it's finished, and going to be performed if I can manage to coordinate performers by December, so here.
https://clyp.it/wdt4mjan
>>60521284
Glad you liked it too. You have posted in these threads before, right? I remember this piece. I actually think it has a potential, you should layer some more things and play more with melodies, it is still hungry for more work.
>>60522650
Yeah I think I might have posted it once before. Thanks! I know it needs a lot more work to become anything, it was sort of just the result of me messing around with the quintuplets, as I said I'm not sure if they're too challenging/weird rhytmically for people to get into. But I'll press on and try and make something of it.
bump, i have things to say
>>60521731
Yeah you may be right >>60522650 is not wrong you can make something cool from it
This is a viola solo that I have been working on for a while. Looking to get comments/suggestions.
https://musescore.com/user/5898666/scores/1434481#
What are some nice books/resources to learn music theory.
https://clyp.it/bjgnzlvo
This one is about two weeks old and i've just had so much trouble finding the time, and getting in the mood.
I'm kinda happy about the first 57 seconds, the next parts feel kinda forced in, and hopefully i will get the time to try and write the transitions a lot better
anything in between 1:20 and 1:55 i'm very unsure about, the start is alright and i feel i should draw out the part for at least 30 more seconds to set the mood before moving back into the windy parts again.
I think i'll move back and and play something similar to the start after 2:20 before reaching and end.
I'd like to hear what you think anon, cause I'm actually pretty uncertain on where i should go.
>>60518267
I don't know exactly what the point of this composition is, but it sounds displaced in time. Like it belongs in the late Baroque/early Classical period, and not in 2015.
>>60525371
The part immediately after :57 does not feel forced, but perhaps the shift to the section that begins at ~1:10 is too rapid. But I love your use of the piano's lower range to imitate the undulating the sea.
>>60525371
Hi stormguy
On an unrelated point, where to begin in writing classical music while already being a songwriter in other genres
>>60525261
Not okay with the contrast at bar 19
>>60525408
Hmm, I don't think I understand what you are trying to say, but that was kind of... a point. I thought it was obvious it is mainly a Baroque piece. :)
>>60526324
That was, and I apologize if this is rude, me dancing around saying that it's a wildly derivative piece that should not exist in 2015. You are obviously skilled, and should apply your ingenuity to creating original, personal music.
>>60525371
>https://clyp.it/bjgnzlvo
Wow, this was really cool. All those chromatic runs were an awesome tool for what you're trying to put across. I really like the transition around 1:20, but I agree that you should really draw that sound out for a while. I'd love to hear you expand on that little melody you play as soon as you come off of the more intense part.
>>60526421
Oh, no problem man! Thank you, yeah that is somewhat true I guess... I was thinking about that. To be honest, I started doing these recently because I had so much fun doing it and wanted to challenge myself, I have 3 WIPs, one is finished and I posted it in the last thread, maybe someone will remember:
https://clyp.it/m3txki2w
Also, I was working on some orchestral works but I paused with that because I wasn't feeling it was good enough and I started working on some other things. That is why I was/am working on these pieces, because I find them enjoyable and feel like I could push some more of them while I'm in the mood. I feel safer doing these at the moment, if you know what I mean. And I am actually completing those works for the first time, no matter how small or big they are.
But yeah, doing more modern and personal music is definitely my goal.
>>60526688
Also just want to say that I appreciate all the feedback I get from these threads, I really needed that. This last comment really "woke me up" in sense that I realised I need to start making something new and fresh, I got stuck in the old periods lately. Thanks for that.
Bumping for more music
What are some different ways composers have approached writing freely atonal pieces? Asking here because /classical/ has been complete garbage at responding to any of my music theory questions lately.
>>60527806
Isn't the point of freely atonal music that it's not systematized? So I'd imagine you just go with feeling.
>>60528219
Well, the problem with that is, going with that feeling inevitably causes it to devolve into just very chromatic diatonicism.
Anyways, I'm asking this after learning about Allen Forte's theories on this subject. I've actually gotten some mileage out of doing it like that, but I tried analyzing Yasushi Akutagawa's works like that and it didn't seem to apply at all, so there must be alternative methods out there.
>>60525261
The notation is a little confusing on this one. Why not just write it in compound? You have so many triplets and almost no simple beats. Also, it didn't have a time signature. Am I missing something here m8?
Hey guys hoping to get some feedback on two pieces:
Metrically Modulating piece:
Here you're hearing metric modulation. I'm currently reworking the french horn and the bassoons but the piece gives a good general sense of what I'm trying to accomplish.
https://clyp.it/ood1itv5
Micro Piece (less than a minute):
I'm throwing the first half of this piece in the garbage, but the second part I'm keeping. Would like any thoughts on this.
https://clyp.it/mgf21opx
Saved
What lurks in the shadows and bumps in the night?
>>60526688
This stuff is competently writen. Have you any other pieces not in this tradition?
>>60528803
The bars are frequently modulating in length, including bars in 5/4, 4/4, 2/4, 7/8, 9/8, and 14/16. No time signatures are used because I am using similar motifs, merely adding and subtracting beats, so all time signatures are used in non-traditional fashions. Time signatures would confound the performer. An example of a piece notated similarly is Stravinsky's Elegy for Solo Viola.
>>60531053
Here is the score with visible time signatures, if you are interested: http://docdro.id/Sq3Wfyv
