Thanks.
It remains to find out for myself why this work liked almost everyone who heard it on soundsloud and the remaining works will not please everyone.
The technical level of works about the same.
Maybe the thing in adding vocals?
I think that many of us watched the Olimpic Games in Rio. And I disappointed that the Romanian gimnastic team acted poorly. And I remember, that some years ago Sandra Raluca Izbaşa, the beautiful woman, won in many competitions.
I'm Trying to grapple with what advice an old fart like me can give you?
I encourage you to soldier on if it's your passion and get lots of theory and orchestration books (such as the famous Samuel Adler guide to orchestration).
Are you a student? if not and this is your passion, make it a priority and be determined to learn full time
You can do some great things if you put your mind to it, everyone around you is also learning. Take advantage of the opportunities that could come your way
What kind of music is this? Sounds oriental to me, with missing notes in the scale. From my experience trying to compose with scales like this (especially pentatonic), it's hard to get traditional harmonies and cadences. E.g., in your 2018 score, I hear do-re-fa-so-la - how would you get anything dominant out of it without a leading tone (and therefore the cadences we all love and need)? No two notes are separated by a semi-tone to get some kind of satisfying resolution.
The net result for me is that we need to rely on melody, rhythm, and instrumentation rather than harmony for complexity, which I don't really see here. And so all your music that I heard sounds pretty much the same to me (I'm sure it's not, but I'm describing what I hear) with little structure/personality that distinguishes one piece from another. Kind of like the background music I heard on the BigBus tours I went on in Hong Kong earlier this month.
I'd love to hear opinions from the experts here on how (and if we can/should) harmonize oriental scales like pentatonic without any leading tones or semitone separations (like fi, ti). And if you could describe your intent/process in composition, Alexenbar, that'd be educational for folks like me too.
Wont say I'm an expert. But there are no notes semitone apart in the oriental pentatonic. Basically each note pretty much harmonizes with each other although they do emphasize certain interval combinations and use some notes more than others. I don't hear these pieces are pentatonic. There are other notes that come in, but agree some of tbe melodies sound pentatonic, which I think Alexanbar wanted that certain sound/harmony, but to me gets muddled with a few other strange harmonies.
Yeah, the reason I asked is that one of main goals as a composer is to incorporate (east) Indian music elements, such as melodic and rhythmic structures, into western music. Indian music has no real concept of harmony and rarely uses chromatic notes in its melodies, so one of my biggest challenges is to figure out how to bring in the flavor or Indian music, like gestures characteristic of the Indian "ragas," into western music while adding harmony. The only way I see doing that by using chromatic notes, as seamlessly as say how we use them in the minor key. Just looking for input/insights from the good folks here.
Five years ago I wrote an asian-like (perhaps it an azerbaijan-like) melody.
This year I decided to mix asian, jewish, traditional european and chinese melodies in one common composition.
I like how the instruments play off each other, but I think the melody could be stronger to keep attention, perhaps.
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