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Thread: My experimental pieces and so forth thread

  1. #376
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    Quote Originally Posted by Phil loves classical View Post
    Here is a refined version of this piece. Slowed it down, and hence the name change. I'm hoping it'll become a big crossover hit. What do you think my chances are? Haha.

    Reminds me a bit of the finale Schoenberg's op.11. Good work! I would pay more attention in audio realisation of this piece. I get it that it's forte-all the way, but you could nuance it a bit in your DAW or notation software. Also, if you like, you could let the tempo live slightly by adding tempo automation here and there. It would just make the demo of the piece more appealing for someone who might be interested in playing it.

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    Senior Member Phil loves classical's Avatar
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    Thanks to both. I'm kind of surprised to see this interest, honestly. I'm thinking I really should put more effort into improving it.
    Last edited by Phil loves classical; Aug-16-2020 at 18:51.
    "But I fear tomorrow I'll be crying..." Peter Sinfield

  4. #378
    Senior Member Phil loves classical's Avatar
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    Here is an updated version. I added some dynamics (shoulda done it before), and tweaked some parts, especially to integrate the interlude better. With the same dynamics as before, it gave the impression it was a progression of earlier material, and came out of nowhere. So it wasn't nearly as painful as I feared it would be. Also had to reign in some weirder stuff, so at least the weirdness is more controlled.

    "But I fear tomorrow I'll be crying..." Peter Sinfield

  5. #379
    Senior Member Phil loves classical's Avatar
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    Check this version out. I think what I was aiming for was in fact something more freely atonal. The stronger tonal associations previously were making it more ugly and inconsistent. There are still some obvious tonal associations especially the last part with the pseudo funk bass, but I feel I was able to properly introduce more tonal independence.

    Last edited by Phil loves classical; Aug-22-2020 at 17:16.
    "But I fear tomorrow I'll be crying..." Peter Sinfield

  6. #380
    Senior Member Phil loves classical's Avatar
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    Here is the final version. The missing piece of the puzzle was an augmented 5th on the bass in the first part. Also fixed some voice leading. Pretty confident I got it right this time. This was kind of fun for me to figure out, but probably not that fun for most people to listen to. Forget what I said last post, this works best with some strong tonal associations.

    I think my preferred composition method (if you can call it that) is pretty clear to me now. I'm more interested in stacked vertical harmony, and want to find the shortest path horizontally to make it work best (at least to my ears, which is sometimes flip-flops) between points. Narrative is more incidental, and just what I can find at the time.

    Last edited by Phil loves classical; Aug-24-2020 at 18:14.
    "But I fear tomorrow I'll be crying..." Peter Sinfield

  7. #381
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    Quote Originally Posted by Phil loves classical View Post
    Here is the final version. The missing piece of the puzzle was an augmented 5th on the bass in the first part. Also fixed some voice leading. Pretty confident I got it right this time. This was kind of fun for me to figure out, but probably not that fun for most people to listen to. Forget what I said last post, this works best with some strong tonal associations.

    I think my preferred composition method (if you can call it that) is pretty clear to me now. I'm more interested in stacked vertical harmony, and want to find the shortest path horizontally to make it work best (at least to my ears, which is sometimes flip-flops) between points. Narrative is more incidental, and just what I can find at the time.

    There's definitely something in there. I'd change the beginning so as to introduce the minute-whole run progressively (maybe in the beginning 5 notes, silence then 7, silence, then 3, silence, then everything without stopping, for example), and also tweak the end so as to let people understand it has finished in a coherent way, and not just as if stopping in the middle of a piece.

    After tweaking, I'd suggest attempting a larger form, maybe 4-5 minutes, in this style or similar, with contrasting elements

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    Senior Member Phil loves classical's Avatar
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    ^ I'll look into that after a break and re-evaluate. I probably still need to find the right balance between provoking, less conventional and something more decent in form. I feel I got the harmonic content right last time I checked, and will look more into refining the structure a bit. I'm trying to envision how your suggestion to the beginning would sound, but I did want something to jump out from the start. Maybe I should expand the first part more somehow.

    Ah, whut da heck. You sparked my interest in the piece again. I expanded the beginning, and changed the ending a bit (It ended before the full measure was complete previously, but that was probably too bold a move). It does seem to flow better now.

    Last edited by Phil loves classical; Aug-30-2020 at 04:37.
    "But I fear tomorrow I'll be crying..." Peter Sinfield

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    Senior Member Phil loves classical's Avatar
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    For some reason I kept thinking about that sputter in of an intro Zeus suggested while I was sleeping. i decided to try it out at least. It does anticipate the interlude better.

    "But I fear tomorrow I'll be crying..." Peter Sinfield

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  12. #384
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    Quote Originally Posted by Phil loves classical View Post
    For some reason I kept thinking about that sputter in of an intro Zeus suggested while I was sleeping. i decided to try it out at least. It does anticipate the interlude better.

    This is already much more coherent, imo

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    Senior Member Phil loves classical's Avatar
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    Here is what I consider for now my perfected version. The harmony in the first part was too wayward before, that nothing was really established, while the last part was too static.

    Last edited by Phil loves classical; Sep-06-2020 at 00:12.
    "But I fear tomorrow I'll be crying..." Peter Sinfield

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    I think it's a really good piece and since you've added dynamics it stands up well. The contrast in texture and register around the middle is effective as are the accented chords that punctuate the continuing motion. It seems you have a process of working that is your own. (I have an extensive background in composition.)

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    Senior Member Phil loves classical's Avatar
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    Quote Originally Posted by Roger Knox View Post
    I think it's a really good piece and since you've added dynamics it stands up well. The contrast in texture and register around the middle is effective as are the accented chords that punctuate the continuing motion. It seems you have a process of working that is your own. (I have an extensive background in composition.)
    Had no idea you had that sort of background. I noticed you mostly in the Community forum talking about basketball and ideas for stupid threads! I have no methodical process really. I kind of adopted my general approach from doing my building construction project design before at work to this (which is pretty messy), just some kind of initial backbone from jerking around with some sort of pattern, and superimposing other self-contained patterns or ideas, or little motifs and snippets and trying to make it meld by ear, then refining and tweaking. But there are many times I put out stuff I couldn't follow myself when I listened again fresh. I imagine others have a more systematic approach.
    Last edited by Phil loves classical; Sep-07-2020 at 03:48.
    "But I fear tomorrow I'll be crying..." Peter Sinfield

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    Unlike Mr. Knox, I have no formal background in music composition (or even in basketball). This said, let me add that I am enjoying following the evolution of this work. I find it's lively beat and interesting melody/harmony quite pleasant to listen to. My main criticisms now are the very sudden ending and that it is still too short. Some sections definitely deserve to be repeated, perhaps in slightly modified form, or perhaps without modification, prior to a somewhat less jolting ending.

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    Quote Originally Posted by Phil loves classical View Post
    Had no idea you had that sort of background. I noticed you mostly in the Community forum talking about basketball and ideas for stupid threads! I have no methodical process really. I kind of adopted my general approach from doing my building construction project design before at work to this (which is pretty messy), just some kind of initial backbone from jerking around with some sort of pattern, and superimposing other self-contained patterns or ideas, or little motifs and snippets and trying to make it meld by ear, then refining and tweaking. But there are many times I put out stuff I couldn't follow myself when I listened again fresh. I imagine others have a more systematic approach.
    There are methodical or systematic ways of composing but they're not necessarily "better," and can be "worse!" By process I just mean a way of working, something that varies a lot among composers. But you've identified elements of your process -- (1) from having done building construction project design, which is interesting and rather unique in the music composition field; (2) superimposing patterns and motifs; (3) creating successive versions of the whole piece; (4) putting the versions on the internet one by one and receiving feedback, which is gutsy. I don't give critical evaluations over the internet but will pass on three pieces of advice from my mentors that have proven helpful: listen to your own voices; always project outward confidence; keep going with your composing.

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    Senior Member Phil loves classical's Avatar
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    I had an idea from the latest Mozart thread in the main forum to try to imitate his style, and test whether a suggestion that he recycles and is formulaic is legit. I took the Piano Concerto No. 5 andante as a starting point, and just played around to make a new tune and add some of the trademark stuff he does. I'm not even sure if I stumbled onto something he did before elsewhere. If you recognize it, please let me know. Obviously this is much more condensed that a real Mozart piece. I just wanted to get a general sense.

    Last edited by Phil loves classical; Sep-13-2020 at 01:25.
    "But I fear tomorrow I'll be crying..." Peter Sinfield

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