# Matt's Works



## MJTTOMB

Just making this thread because it's probably better to put all of them in one place than to have them all scattered in other threads all over the place.

At any rate, I just finished writing this, it's a Waltz for full orchestra (or at least, my conception of an orchestra). Forgive Sibelius's terrible sound sets. I'm planning on using this in my composition portfolio to send off to colleges, so I'm going to hold on to the sheet music until that process is all done with. Enjoy, and any helpful feedback is much appreciated.

Click to Listen!


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## Aramis

> Just making this thread because it's probably better to put all of them in one place than to have them all scattered in other threads all over the place.


See, you chicaned Saul and now you follow his original idea of having one thread for your works ! 

Anyway, it's well written if you ask me, but very unoriginal. Not sure how things are in America but do you think that's good idea to send such thing to music college? They rather expect modern and serious works like "Death of plastic frog" for two trumpets, reciter and electronics. Your previous works at least showed some direction, influence of post-chopin piano music, but this? Tonal orchestral waltz? This is well-written and enjoyable... nothing. It gives no insight on what are your ideas and purposes. Again, I don't know how things are like in United States but I doubt that any good music college of European quality would take you too seriously after receiving such piece.


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## Saul_Dzorelashvili

Aramis said:


> See, you chicaned Saul and now you follow his original idea of having one thread for your works !
> 
> Anyway, it's well written if you ask me, but very unoriginal. Not sure how things are in America but do you think that's good idea to send such thing to music college? They rather expect modern and serious works like "Death of plastic frog" for two trumpets, reciter and electronics. Your previous works at least showed some direction, influence of post-chopin piano music, but this? Tonal orchestral waltz? This is well-written and enjoyable... nothing. It gives no insight on what are your ideas and purposes. Again, I don't know how things are like in United States but I doubt that any good music college of European quality would take you too seriously after receiving such piece.


LOL :lol:...


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## Saul_Dzorelashvili

Nice music though, Triplett ....


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## Falstaft

Sounds great MJTTOMB. I think Aramis's criticism is a little harsh and possibly off base as well. I'm not bothered by the fact you're not reinventing the wheel here. It demonstrates a firm control over idiom, orchestration, and tonal language, which is impressive at your stage and very important for someone evaluating your music from an academic or training perspective. Your own compositional voice will continue to develop, don't force it along artificially. Enjoyed the waltz a lot, keep 'em coming.


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## MJTTOMB

Aramis said:


> See, you chicaned Saul and now you follow his original idea of having one thread for your works !
> 
> Anyway, it's well written if you ask me, but very unoriginal. Not sure how things are in America but do you think that's good idea to send such thing to music college? They rather expect modern and serious works like "Death of plastic frog" for two trumpets, reciter and electronics. Your previous works at least showed some direction, influence of post-chopin piano music, but this? Tonal orchestral waltz? This is well-written and enjoyable... nothing. It gives no insight on what are your ideas and purposes. Again, I don't know how things are like in United States but I doubt that any good music college of European quality would take you too seriously after receiving such piece.


I took a few liberties in terms of timbre, you can't hear them thanks to Sibelius player. At certain points throughout the trumpets are supposed to use plunger mutes to get a somewhat awkward, vocal quality.

It's written for the purpose of being danced to. The intent is to be graceful and listenable, but most of all to be danceable. I worship Stravinsky's _Le Sacre_, but the music isn't really suitable for ballet. The choreographies are so awkward and unnatural (possibly the fault of Diaghilev). It's the opening waltz, it's not intended to be profound. If I continue work on this suite I'll get more poignant in later movements. But this is just a start. Saccharine, arguably. But absolutely danceable.


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## Saul_Dzorelashvili

MJTTOMB said:


> I took a few liberties in terms of timbre, you can't hear them thanks to Sibelius player. At certain points throughout the trumpets are supposed to use plunger mutes to get a somewhat awkward, vocal quality.
> 
> It's written for the purpose of being danced to. The intent is to be graceful and listenable, but most of all to be danceable. I worship Stravinsky's _Le Sacre_, but the music isn't really suitable for ballet. The choreographies are so awkward and unnatural (possibly the fault of Diaghilev). It's the opening waltz, it's not intended to be profound. If I continue work on this suite I'll get more poignant in later movements. But this is just a start. Saccharine, arguably. But absolutely danceable.


Don't worry about Aramis, I don't think he meant everything he said. This piece was nice, you should continue in this route, though you should still work on making it sound more original.

Cheers,

Saul


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## ricardo_jvc6

sounds great, 3/4 or 9/8, the valse movement? oh well it was nice  keep doig the great stuff


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## Couchie

Your biggest offence is that you have the same repeating broken merry-go-round motive for almost 2 minutes, finally at around 1:50 a new theme is introduced, repeats itself for 60 seconds, gives up, and then returns to the original motive. Also there is excessive pointless embellishment: adding layers of embellishment to a theme is easy, developing core musical ideas is difficult. You have a nice melody, but you have to do more in 3 minutes than rest on its laurels, otherwise, go into Pop songwriting.


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## Delicious Manager

Falstaft said:


> Sounds great MJTTOMB. I think Aramis's criticism is a little harsh and possibly off base as well. I'm not bothered by the fact you're not reinventing the wheel here. It demonstrates a firm control over idiom, orchestration, and tonal language, which is impressive at your stage and very important for someone evaluating your music from an academic or training perspective. Your own compositional voice will continue to develop, don't force it along artificially. Enjoyed the waltz a lot, keep 'em coming.


I have to agree that Aramis was on the money. This music has nothing to say in 2010 - it is derivative and unoriginal in every way. It simply makes me think "Why?" when there are already hundreds of pieces that sound very much like this. If I were you, I would heed Aramis's advice and try to forge a style that is your own and which is relevant today. I would advise you NOT to send this to any colleges.


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## Saul_Dzorelashvili

Delicious Manager said:


> I have to agree that Aramis was on the money. This music has nothing to say in 2010 - it is derivative and unoriginal in every way. It simply makes me think "Why?" when there are already hundreds of pieces that sound very much like this. If I were you, I would heed Aramis's advice and try to forge a style that is your own and which is relevant today. I would advise you NOT to send this to any colleges.


I don't know why there is a need or an obligation to attack someone's music in this fashion. There is a certain tendency in today's classical music world to attach 'formality' to music, and to measure everything about it in the medium of 'success' and 'fame'.

Triplett wrote this music as a nice gesture to the genre of dance and waltz, and I believe that its way more superior in so many aspects, then today's modernized drivels coming out from those 'Music Colleges' that you want him to send this music for 'evaluation'.

The vast majority of the composers who are coming out today from these various colleges are total nobodies when it comes to music, because everything that comes out of their pens are major drivels of the worst kind, that the ear cant grasp and the mind cant bare.

So in my opinion its better to write beautiful and enjoyable music in the style of somebody else, then to write poorly conceived delirium of pointless drivels in one's 'original style'.

That means to say, if you can cook a soup that is eatable and enjoyable with a French recipe, its way better then to create your own original soup that no one can get close to without holding their nose.

Cheers,

Saul


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## Aramis

> Triplett wrote this music as a nice gesture to the genre of dance and waltz, and I believe that its way more superior in so many aspects, then today's modernized drivels coming out from those 'Music Colleges' that you want him to send this music for 'evaluation'.
> 
> The vast majority of the composers who are coming out today from these various colleges are total nobodies when it comes to music, because everything that comes out of their pens are major drivels of the worst kind, that the ear cant grasp and the mind cant bare.


But Triplett WANTS to apply for college and he mentioned this fact because he apparently wants to get comments about this matter, that's why we are considering this piece in context of aspects that matters for people "up there".


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## Rasa

I can confirm that at my consevatory, a composition student told me that they wouldn't dare bring anything tonal to their professor...


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## Delicious Manager

Saul_Dzorelashvili said:


> I don't know why there is a need or an obligation to attack someone's music in this fashion. There is a certain tendency in today's classical music world to attach 'formality' to music, and to measure everything about it in the medium of 'success' and 'fame'.


Honest opinions were requested in the light of possibly sending the piece off to colleges as part of a composition portfolio. I gave what was my HONEST opinion of the music's worth, borne of 30 years' experience in the music profession and also the music education system.


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## Saul_Dzorelashvili

Aramis said:


> But Triplett WANTS to apply for college and he mentioned this fact because he apparently wants to get comments about this matter, that's why we are considering this piece in context of aspects that matters for people "up there".


If the 'Professors' there will dismiss this work as you said, then these various Professors have to look into their back yard and do something about their complete failure in producing any composers that possess real substance and capability.

As I said, and I know this for a fact, the composers that come out of these colleges are total failures. So its better for them to do something about how they educate the next generations of would be composers, then concentrate on criticizing a pretty melody written in the Waltz Genre.

So in summery what I am saying is that since these music teachers have failed so miserably with their students, I don't believe that their comments will hold any merit on somebody else's music outside the school. And I also don't believe that you know what they will say about this piece. How do you know that they will put it down as you did? Are you a music professor? You are speculating that since you don't like it, its automatically logical they they wouldn't like it as well. But perhaps some of them can surprise you.

You are guessing here that since you think that this music is poorly written and uninspiring, therefore the Professors will think the same. This is all a speculation. And I say further that even if you're right in your speculation, that means nothing, because these Professors are themselves total failures for they have completely failed in bringing up the next generation of Composers. Most of the composers who studied under them cant compose an inspiring melody , all they are good at is following the rules of music, like they are some kind of mathematicians, void of anything that truly comes from their souls.

Who is to blame for this?

I say if the student failed, the teacher is at fault. Therefore I wouldn't give their opinion any merit.

I also believe that its way better to go and get private lessons from a gifted composition teacher who understands Bach, Beethoven, Mozart, Handel, Mendelssohn, and the other real Greats, then to enter one of this 'modern atonal driven music institutions' who long time by now have missed the boat on the true art of composition, and became places where 'failed musicians promote each other's failed music', that's what today's music schools came to be.


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## emiellucifuge

Well thats a whole load of subjective DRIVEL there Saul, you say you know this for a fact? Then please provide the evidence. I also wonder how you can already know that the _next_ generation of composers is a failure.


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## Aramis

> You are speculating that since you don't like it, its automatically logical they they wouldn't like it as well. But perhaps some of them can surprise you.
> 
> You are guessing here that since you think that this music is poorly written and uninspiring, therefore the Professors will think the same. This is all a speculation.


Did you even read my posts? Why do you assign me thinking that it's poorly written when in my first post I wrote the following:



> (...) it's well written if you ask me (...)


Sorry, but if you don't even bother to see what I really wrote before criticizing my opinion I'm done with this conversation


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## Aksel

Saul_Dzorelashvili said:


> As I said, and I know this for a fact, the composers that come out of these colleges are total failures. So its better for them to do something about how they educate the next generations of would be composers, then concentrate on criticizing *a pretty melody *written in the Waltz Genre.


Composing just pretty melodies is so 1786.

And you sound like those critics that criticized Chopin for being to dissonant or said that Beethoven's second symphony was "a hideously writhing, wounded dragon that [refused] to die.".


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## Saul_Dzorelashvili

Emiellucifuge, 

I had an audience with an Israeli Virtuoso Pianist that teaches Piano Music in Juilliard.
He told me that the composers in Juilliard follow every rule of the Rules of music Theory. That's all nice and pretty, but he continued, that one of his friend composer had given him some of his piano music to study and perform, he played some of it in front of me. He then told me :" You see? everything is crystal clear here, yes all the rules of composition are respected in this music, but what about the music itself? the music is itself is nothing, its pointless."

When I was listening to him performing, I was thinking to myself, what on the galaxies he is playing, but I didn’t want to interrupt and tell him that the music is so bad, I also didn’t want to embarrass him, well I was very much relieved that he himself said what I felt even better then me.


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## Aksel

So just because some Israeli virtuoso says so, all contemporary music is, by default, drivel? It is very well that you, objectively, think that contemporary music is drivel, but to say that it is subjectively drivel is another thing entirely.


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## Saul_Dzorelashvili

Aksel said:


> So just because some Israeli virtuoso says so, all contemporary music is, by default, drivel? It is very well that you, objectively, think that contemporary music is drivel, but to say that it is subjectively drivel is another thing entirely.


This is only one example.

Anyways what are today's music institutions then a stage for composers who compose failed music to promote their works?


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## emiellucifuge

Well he was working at a school, surely people go there to learn the rules of music so that one day they may develop a voice of their own and use these rules or disuse these rules how they see fit to create music.

Bach, Beethoven, Mozart all learned the rules - and in fact probably stick to the rules more often than many contemporary composers. What you mistakenly criticise for being to formal is the opposite, and you praise the old music for being so sprititual and emotional when all it is is rules.


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## Saul_Dzorelashvili

emiellucifuge said:


> Well he was working at a school, surely people go there to learn the rules of music so that one day they may develop a voice of their own and use these rules or disuse these rules how they see fit to create music.
> 
> Bach, Beethoven, Mozart all learned the rules - and in fact probably stick to the rules more often than many contemporary composers. What you mistakenly criticise for being to formal is the opposite, and you praise the old music for being so sprititual and emotional when all it is is rules.


Well first they had a soul to compose great music, and the rules were only tools to achieve that, but today, these tools are a not a means to an end, but the end itself.

Look at the rubbish that composers create today, especially those who are educated in these music schools.

And all the greats began learning from private individuals. And I believe that this is the better way.


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## emiellucifuge

There are some great composers to come out of music schools:

Hector Berlioz
Alkan
George benjamin
Bizet
Boulez
Dukas
Enescu
Honegger
Messiaen
Milhaud
Ravel
Saint saens
Bax
Alwyn
Schubert
Mahler
Dvorak
Tchaikovsky
Prokofiev
Rachmaninov
Shostakovich

Your beloved Mendelssohn even founded his own music school.

And dont deny that any of these are not great composers, their music has touched millions of peoples lives.


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## Delicious Manager

Saul_Dzorelashvili said:


> Well first they had a soul to compose great music, and the rules were only tools to achieve that, but today, these tools are a not a means to an end, but the end itself.
> 
> Look at the rubbish that composers create today, especially those who are educated in these music schools.
> 
> And all the greats began learning from private individuals. And I believe that this is the better way.


Here is the voice of the ignorant reactionary. Are you lumping the wonderful music by our colleague Mantas Savickas into your ill-defined category of "the rubbish that composers create today"?


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## Falstaft

This thread is fast careening off into total derailment, but there is one thing I'd like to add before returning to lurking on this thread. Though I cannot really speak to Matt's long term goals, or the kinds of schools he's looking at, we shouldn't forget that not all professional composition in today's music market is for high art/classical. Delicious Manager, I imagine you know better than most the ins and outs of the classical composition and performance scene, but should we be assuming this is where Matt wants to end up? There is much opportunity in other styles, including all commercial music - film, to give one big, and important example - which require exactly the skills of stylistic control that Matt demonstrates in his waltz. And many very good schools teach specifically commercial varieties of composition, and look kindly on young composers who already have a grasp of its essentials. So far, the only critique I think that gives Matt anything constructive he could work with is Couchie's. But remember this will only be *one* part of his composition portfolio! 

Perhaps you could clear this up for us Matt, but what kinds of schools, and programs within, are you considering? Music conservatories? Or universities/liberal arts programs? If the latter, I'd worry even less about having perfected some stunningly original statement of artistic individuality -- you're young, have plenty of time to develop, and personally I'd be thrilled to have a student for a theory/comp course who clearly has already internalized some of the core principles of common practice music. As I said before, by no means limit yourself solely to pastiche like this, but don't be discouraged either.

As for the direction this conversation has turned regarding "drivels" and such, I don't understand why some of you posters, whom I respect highly, insist on engaging such close-minded nincompoopery when you know the outcome will just be further, retrenched nincompoopery.


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## MJTTOMB

I'm turning 18 in about a week. I'm actually glad to see my music has sparked a pretty good discussion. I'm very much in love with the works of the modern greats, and I personally adore Savickis's works (Whose work for solo cello I shared on my music blog quite recently, and it got some pretty fantastic feedback). I have every intention of allowing my music to mature into a more modern style when I feel ready to do so, and I feel that that change could very possibly occur under the instruction of a strong program for modern music. My favorite composer is Scriabin, for goodness sake. This work is simply a demonstration that I have grasped the basic concepts of form, melody, harmony, and orchestration. 

I'm hurt by some of the more ignorant comments in this thread suggesting I should go into pop writing. Once I've seen works that you've written at such a young age, I'll be more than happy to listen. But to dismiss the value of tonal music based on the year in which it was written is just as ignorant as to state that all music after 1900 is rubbish.

That being said, I've noted all your opinions and I'll think further as to whether I will include this or not.

Edit: Falstaft summed things up pretty nicely, and as for my long term goals, I would hope to study for a doctorate in composition or musicology. I wrote a good 20-page thesis on the use of the Symbolist Aesthetic in the late works of Scriabin, and I discovered a pretty significant common motif that appears in the same context in I believe about 4 or 5 of his later works, and writing that really got me enthusiastic about the study of music itself. As far as career opportunities, I'd very much love to teach on a collegiate or even high school level if needbe.


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## Saul_Dzorelashvili

Falstaft said:


> This thread is fast careening off into total derailment, but there is one thing I'd like to add before returning to lurking on this thread. Though I cannot really speak to Matt's long term goals, or the kinds of schools he's looking at, we shouldn't forget that not all professional composition in today's music market is for high art/classical. Delicious Manager, I imagine you know better than most the ins and outs of the classical composition and performance scene, but should we be assuming this is where Matt wants to end up? There is much opportunity in other styles, including all commercial music - film, to give one big, and important example - which require exactly the skills of stylistic control that Matt demonstrates in his waltz. And many very good schools teach specifically commercial varieties of composition, and look kindly on young composers who already have a grasp of its essentials. So far, the only critique I think that gives Matt anything constructive he could work with is Couchie's. But remember this will only be *one* part of his composition portfolio!
> 
> Perhaps you could clear this up for us Matt, but what kinds of schools, and programs within, are you considering? Music conservatories? Or universities/liberal arts programs? If the latter, I'd worry even less about having perfected some stunningly original statement of artistic individuality -- you're young, have plenty of time to develop, and personally I'd be thrilled to have a student for a theory/comp course who clearly has already internalized some of the core principles of common practice music. As I said before, by no means limit yourself solely to pastiche like this, but don't be discouraged either.
> 
> As for the direction this conversation has turned regarding "drivels" and such, I don't understand why some of you posters, whom I respect highly, insist on engaging such close-minded nincompoopery when you know the outcome will just be further, retrenched nincompoopery.


I find it very immature to call somebody a fool, an idiot or a close minded person only because he thinks differently then me.

How fruitless it would be that all of us would agree on everything, then what's the point of discussion?

I am an anti modernist, you should respect that.

As to whether these other composers mentioned above went to schools before they had private lessons in composition, is debatable.

And the vast majority of the composers mentioned on this list were not Great Composers.

For example Mendelssohn thought Berlioz music to be very poor, and he knew music better then anyone here including myself.


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## emiellucifuge

If Mendelssohn who knows music better than anyone here saw merit in the foundation of a school for music, then there must be some merit. And he surely saw merit, for why else would he devote his energies to the creation of such a school.

I wish MJTTOMB much luck with his future studies, he has shown a definite grasp of musical concepts and I have enjoyed a great deal of his compositions.


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## Saul_Dzorelashvili

emiellucifuge said:


> If Mendelssohn who knows music better than anyone here saw merit in the foundation of a school for music, then there must be some merit. And he surely saw merit, for why else would he devote his energies to the creation of such a school.
> 
> I wish MJTTOMB much luck with his future studies, he has shown a definite grasp of musical concepts and I have enjoyed a great deal of his compositions.


Mendelssohn created a school that was the anti modernist center in all of Eurupe.
But if he saw what today's music schools look like, he would have been very disappointed indeed. I'm not saying not to go there, but dont excpet too much...


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## emiellucifuge

Im not sure where you get that. Mendelssohn's compositional style was fairly conservative - he didnt try much new. However as a conductor he often gave premieres of new pieces and championed the music of Berlioz, Schumann and Gade - all contemporaries. It is fair to say that a few of these were met with negative reactions from the public for being too forward-thinking and indeed Berlioz and Schumann are among the greater innovators of the romantic era. 

A quick search reveals that the Leipzig conservatory (which Mendelssohn founded) has taught many notable composers, including:
Janacek
Delius
Busoni
Albéniz
Grieg

Some of these I would call anti-modernist in their musical language but others I would call the opposite.


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## Saul_Dzorelashvili

emiellucifuge said:


> Im not sure where you get that. Mendelssohn's compositional style was fairly conservative - he didnt try much new. However as a conductor he often gave premieres of new pieces and championed the music of Berlioz, Schumann and Gade - all contemporaries. It is fair to say that a few of these were met with negative reactions from the public for being too forward-thinking and indeed Berlioz and Schumann are among the greater innovators of the romantic era.
> 
> A quick search reveals that the Leipzig conservatory (which Mendelssohn founded) has taught many notable composers, including:
> Janacek
> Delius
> Busoni
> Albéniz
> Grieg
> 
> Some of these I would call anti-modernist in their musical language but others I would call the opposite.


Conducting was one of his jobs, and he even helped the adventurous Liszt to get famous all across Europe by giving him exposure, but what he felt about their music is not a secret, you should read Mendelssohn's own letters dealing with these things.

As for this short list, only Grieg and Delius to some extend kept the classical tradition alive.
I consider Grieg to be a Great composer and Delius to be a good one.


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## MJTTOMB

I'd appreciate it if we could try to keep the discussion relevant to the title of the thread. To be entirely honest I don't really care what ideology Mendelssohn subscribed to, we all have our own different ideas of what music should be, so let's agree to disagree, please, and keep the discussion on-track.


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## Aksel

Saul_Dzorelashvili said:


> Conducting was one of his jobs, and he even helped the adventurous Liszt to get famous all across Europe by giving him exposure, but what he felt about their music is not a secret, you should read Mendelssohn's own letters dealing with these things.
> 
> As for this short list, only Grieg and Delius to some extend kept the classical tradition alive.
> I consider Grieg to be a Great composer and Delius to be a good one.


How on earth is Grieg a classicist? He was never really into form (yes, the Piano concerto, sonatas, etc), and his passion for folk music surely was a Romantic trait? And if he was a classicist, how is the majority of his output piano miniatures and songs. Aren't those very Romantic genres?


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## Saul_Dzorelashvili

Aksel said:


> How on earth is Grieg a classicist? He was never really into form (yes, the Piano concerto, sonatas, etc), and his passion for folk music surely was a Romantic trait? And if he was a classicist, how is the majority of his output piano miniatures and songs. Aren't those very Romantic genres?


Romantic doesnt make you anti classical.


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## emiellucifuge

Sorry MJTTOMB, ill refrain from replying from here on.


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## Aramis

I bought a new refrigerator. Whirlpool. A class by itself. It has special spots for eggs, with the one I had before it was risky because they could easily fall and crack if I would open it too violently. In this everything is safe and wide space assured me that I'll never again happen to lack free spot to put a jar of herrings. It can't be put elsewhere, you left herrings for one night in too warm place and they are wasted.


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## Saul_Dzorelashvili

MJTTOMB said:


> I'd appreciate it if we could try to keep the discussion relevant to the title of the thread. To be entirely honest I don't really care what ideology Mendelssohn subscribed to, we all have our own different ideas of what music should be, so let's agree to disagree, please, and keep the discussion on-track.


Funny I thought the entire discussion was about this work and its merit.
Music subjects are all related to each other, I don't tell anyone what to talk about on my music thread. Everyone can talk about anything they want to, including my music.

As to not caring about what Mendelssohn thought about certain things, wont get you far as a musician, because we all have to learn from people and from each other 'not caring' is counterproductive.

But if you don't care, then I respect your choice.


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## MJTTOMB

I also plan to include this, a sketch of an abstract piece for piano and stringed instrument. It's a mix between pictorial music and my own style, and I devised my own methods of arranging the staves and having staff lines fade in and out to allow for sections where there are specific tones and rhythms, versus simply contours and effects. I may actually continue work on this. Sadly, no recording available. I wouldn't hold my breath waiting for a recording of this, because it's most certainly not my best work. But it may be an interesting future path to pursue and look into further.


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## Nix

Rasa said:


> I can confirm that at my consevatory, a composition student told me that they wouldn't dare bring anything tonal to their professor...


That's absolutely ridiculous. Most major composers are currently writing in a tonal idiom- Adams, Ades, Glass, Penderecki... exclusively writing atonal music is limiting and impractical, but that's a different discussion. Which conservatory to you attend if you don't mind me asking?

That said the work posted is probably to far on the other side to be taken seriously by most major conservatories, but everyone starts from somewhere, and anyone with patience and an open mind can grow as a composer.


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## emiellucifuge

Looks interesting definitely. Its a lot of fun to experiment with new ways of notating and writing music. After all a composer should be open to manipulate sound in infinite ways, but the conventional scoring and traditions definitely restrict that.


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## Aramis

That's pretty weird score, reminds me of one by Penderecki that I once saw as example of modern ways of notation in music book. 

But I suppose that young composers using software will rather stick to traditional one since otherwise they would have to abandon these programs.


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## emiellucifuge

Aramis said:


> But I suppose that young composers using software will rather stick to traditional one since otherwise they would have to abandon these programs.


LOL, that would be the epitomy of Laziness.. :lol:


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## mueske

Saul_Dzorelashvili said:


> I am an anti modernist, you should respect that.


I am a racist, you should respect that
I am a holocaust denier, you should respect that
...


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## Saul_Dzorelashvili

mueske said:


> I am a racist, you should respect that
> I am a holocaust denier, you should respect that
> ...


I'm Israeli, I'm not intimidated by people like you.
Here's some of what we can do... check it out...


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## MJTTOMB

Saul_Dzorelashvili said:


> I'm Israeli Im not affraid of people like you.
> 
> Here's some of what we can do... check it out...


I'm pretty sure he was just making a point, that saying "I'm ________, you have to respect that", is somewhat of an idiotic statement, particularly if you can't really justify your reasons for holding such an ideology. I highly doubt he is a holocaust denier or a racist, it was simply an example.

Though, I must say Saul, you sure have a talent for derailing threads.

I'm glad my thread has its very own propaganda advertisement for the Israeli military.


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## Saul_Dzorelashvili

MJTTOMB said:


> I'm pretty sure he was just making a point, that saying "I'm ________, you have to respect that", is somewhat of an idiotic statement, particularly if you can't really justify your reasons for holding such an ideology. I highly doubt he is a holocaust denier or a racist, it was simply an example.
> 
> Though, I must say Saul, you sure have a talent for derailing threads.
> 
> I'm glad my thread has its very own propaganda advertisement for the Israeli military.


He may or may not be what he claimed to be.

But even within comparisons, one can see that this was just made in bad taste and in a very offensive manner. If someone says that he dislikes modern classical music, its not the same as if someone would say that the death of millions of innocent men women and children means nothing to him.

He turned this discussion into ugliness, and offended me personally and the memory of those victims who cant speak for themselves.

What an amazingly insensitive and completely uncalled for comments, that have nothing to do about music whatsoever, I have reported him to the mods, I'm confident they'll do something about it.


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## MJTTOMB

Are you insane? He was making a point. He didn't "turn" the discussion anywhere. I understand that it may have been in poor taste, but he was making a point about how ignorant some of your statements were.


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## Saul_Dzorelashvili

MJTTOMB said:


> Are you insane? He was making a point. He didn't "turn" the discussion anywhere. I understand that it may have been in poor taste, but he was making a point about how ignorant some of your statements were.


Making a point by bringing the Holocaust inside a classical music website that deals with music, while discussing music?

And I'm insane?

What's wrong with you people!


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## Saul_Dzorelashvili

And also the Holocaust is not a matter of OPINION!

Get that through your head!

On music we can have opinions, on art, on politics, but not if the sun exists or that whether we live on planet earth.

Saying that the Holocaust never happened, besides the fact that its idiotic, its also a direct blow and insult to history and human intelligence as we know it.


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## Krummhorn

Temporarily closed until 'situations' cool down some. 

When it reopens, we would like to return the relevant discussion to the OP.


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## Krummhorn

MJTTOMB said:


> I'd appreciate it if we could try to keep the discussion relevant to the title of the thread. To be entirely honest I don't really care what ideology Mendelssohn subscribed to, we all have our own different ideas of what music should be, so let's agree to disagree, please, and keep the discussion on-track.


Well said, Matt ... thank you :tiphat:

Without further ado, we would now return to the relevant discussions of the OP


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## KJohnson

Aramis said:


> They rather expect modern and serious works like "Death of plastic frog" for two trumpets, reciter and electronics.


That's very old-fashioned today. They expect more serious works like music for vacuum cleaner, metronome, stapler, a cellphone and female chorus.


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## MJTTOMB

Okay, so here's the first piece I'll post in my thread that represents the style of writing that I feel best represents my own original style. Maybe it's been done before and it just sounds sappy to you, but I like it quite a bit. The melody is simple and the harmonies are nothing revolutionary, but it's a start. As Stravinsky put it, complexity is just well-ordered simplicity. I plan to expand on this so I'll hold back on posting the score until it's finished.

My apologies for the poor recording and the less than perfect interpretation. In the hands of a more gifted pianist I think it would sound much better and perhaps a bit less dry. But this isn't the sort of piece I trust MIDI with. I'd rather hear a human than a robot, even if the human's not the greatest performer.

Click to Listen!

Your thoughts?


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## Rasa

Sounds like Jazz. Listened to the whole thing (didn't run away screaming, doesn't happen often on TC new works ). Would like to hear it on a tuned instrument. MIDI would deffo screw this though.

The one thing that's noticeable on the quick listen is the last note. It seems flat in comparison to the soundscape of the rest of the piece. If there's one thing, I'd say it lacks some direction. It sounds somewhat like an improvisation.


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## MJTTOMB

Rasa said:


> Sounds like Jazz. Listened to the whole thing (didn't run away screaming, doesn't happen often on TC new works ). Would like to hear it on a tuned instrument. MIDI would deffo screw this though.
> 
> The one thing that's noticeable on the quick listen is the last note. It seems flat in comparison to the soundscape of the rest of the piece. If there's one thing, I'd say it lacks some direction. It sounds somewhat like an improvisation.


Yeah, I use a lot of jazz chords in it, an awful lot of #11s, b9's and major 7's.

Piano hasn't been tuned in over a year (definitely needs to be taken care of). And I agree, the final E-flat should probably be omitted. I can't think of a justifiable reason for it to remain.

As for the lack of direction, I can certainly see that. It may just be my dragging tempo and long pauses that give it that feel, or perhaps it's the writing. Either way, I'll keep that in mind and make it a goal when I second-draft it. When I initially conceived the theme (probably over a year ago) I was just trying to capture the simplicity and beauty of this little white flower that somebody left on the piano at school with a note for me saying they enjoyed listening to me practice every day when they came through the doors. Hopefully that'll help get a more nuanced listening. Idunno.

Anyway, thanks for the comments, they're certainly helpful!


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## Aramis

What kind of piano is that? It reminds me of one I once played, with brown-rotten keys and two pitches for some single keys, you press Fis and A and get huge dissonant chord  it had the same timbre. 

I don't get this piece, I guess it depends much on colour and with sound like this it probably lost all advantages.


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## MJTTOMB

Oh, it's not a piano. It's a plastic tube that produces different pitches when spun in the air at different speeds.

It's actually a beautiful Cristofori upright, it just hasn't been tuned lately, unfortunately.


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## Mantas Savickis

I suggest you to send only the score of this waltz. Professors can't stand the sound of midi  believe me  (I mean waltz for orchestra) The main aim should be to show that you know something about all instruments in orchestra, to show that you know orchestration and so on. BUT in exam you should show something composed in modern way. Or at least tell to jury that you are planning to move to modernism, you want that, but you don't know how. If you plan moving to modernism, I suggest you to do it slowly. I started with the style of composer Bela Bartok. Later I learned about modes and tried to compose in style of Olivier Messiaen (sometimes I still do). Finally I started to compose music I really like and feel... there comes Arvo Part, Henryk Górecki, John Tavener. But in other hand i love American minimalism... 

Now try to write something modern... lets say for piano. I can give you a hint: compose in Octatonic scale Use only these notes and you will sound a little like Messiaen  Good luck!

regards
Mantas Savickis


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## MJTTOMB

Thanks! I actually just posted a piano piece in a more modern jazz-influenced style, but you make some great suggestions so I think I'll try those out soon!


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## soundandfury

I'd just like to say that I enjoyed your Waltz, there's nothing wrong with writing music in old idioms and it was both pleasant to listen to and musically clever, also very good orchestration. One thing though, the modulation (at least, I think it's a modulation, hard to tell without the score) at about 0:30 doesn't really work for me, it feels forced and has perhaps too much unprepared chromaticism for this style. It might just be because the colour is introduced in the high register in the strings, it jumps out too much. Sounds like a job for bassoons (is there anything they _can't_ do?) or perhaps horns in their low register.


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## MJTTOMB

*Lent, Religieux*

A modern piano piece using the octatonic scale, as Mantas suggested (Thanks, it was a great idea!). The melody is largely derived from the octatonic scale, and the harmonies are derived mostly from several different hexatonic scales. It's very minimal and utilizes open space as a structural and musical element. Some may argue that this piece does not say anything. That is absolutely true: It is not intended to say anything. Rather, I intended for it to ask a question.

Do let me know what you think?

The rough draft of the sheet music (pardon the scratch-outs and revisions, I realize it's not pretty, but it's accurate).


























Also pardon the poor tuning of my piano and my poor interpretation of the piece. Ideally, a skilled pianist would play this and be able to interpret the cadential passages more effectively. That being said, I wrote this just today and haven't had much time to practice it.

If any of you would be interested in playing this for real rather than listening to me butcher it, I'd be more than happy to draft up a version of the score that's actually somewhat read-able.

Thanks you guys!

Edit: 
I really appreciate all the feedback you give me, even when it's not necessarily favorable! It helps me grow as a musician, and my focus right now is growth, especially as I am attempting to explore possibilities for styles I may want to claim as my own as I continue to pursue music.


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## Aramis

I understand that it's beginning of your exploration of new style and it's hard to expect a masterpiece. 

Don't loose sense of context and tension. It happens when you go towards more sound than music kind of music in music when making music. I hear context and thought at the beginning but not so much in the middle. I suppose you don't really think like in more conservative music, but you should think the same way as you would lead traditional phrases and structures. It's easy to come out with various "moments" with pedal making it sound like "mysterious voices from the void" but that's idea worth putting into baboon's ***, if isn't supported by anything else. Same with what happens after 0:26 and 1:00.

I also would like to write: Ai Wai!


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## MJTTOMB

I did think in a sense of structure, the structure was inspired by Chopin's E minor prelude (Op 28, 4.). It's a simple motive repeated and sequenced in the first section over harmonic changes with some dissonance, followed by a very brief cadenza-like passage, followed by a variation on the initial motive. The only major difference structurally is the lack of a strong cadence to the tonic, simply because I feel that would make the piece fail to ask a question.

As for phrasing, yes. My phrases are weak. I found it extremely difficult to craft logical phrases in an ametric context.


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## Rasa

Sounds like a Tristan chord at the beginning.


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## MJTTOMB

Isn't the Tristan chord just a half-diminished 7th? Honestly I'm not a big disciple of Wagner's harmonic language. I've listened to some of it, but I haven't made much effort to absorb it.

The beginning chord as far as i can tell is more like a G-flat major 7 flat 5, with a D acting as a non-chord tone.

If the D is part of the chord it's a lot more complicated, because then it's like a G-flat augmented with a major 7th and a sharp 11.


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## MJTTOMB

A miniature piano piece. Nothing extraordinary, but as far as miniatures go it's relatively decent I think.


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## Aramis

Is it traditional, romantic waltz or some modern frankenstein? If first, I don't really dig it, harmony from three quarter-notes beat in left hand is not melting, doesn't "make sense". And why do you bang with left hand so much, it makes it even more exposed. You have tendency to write a lot of waltzes but eventually they turn to be your least good works


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## MJTTOMB

A fair enough assessment.











Two pieces from my Suite for Strings, both written well over a year ago. Ironically, I submitted the second as part of my composition portfolio to one school, and the composition professor there enjoyed it more than my other, more recent works.


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## ricardo_jvc6

The Miniature Piano for me it didn't sounded good, It looked like it was another thing... The other 2 pieces we're good.


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## LarsikComposer

Your second piece in the suite for strings is great and it was very pleasing to my ear. I really enjoyed listening to it and it actually reminds me of my own country, Norway


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## MJTTOMB

After about 8 months of work, I've finally finished my String Quartet (link) in the style of Haydn. Perhaps unoriginal, uninspired, etc. but please take it for what it is- an exercise in imitating another composer's voice. My personal favorite is the final movement though I enjoy the minuet as well.

Any thoughts, comments, or feedback is welcomed and greatly appreciated!


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## MJTTOMB

Two Sketches for Piano

hopefully i'll have a live recording sometime in the near future.


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## Huilunsoittaja

I liked the "Happy Birthday, Scriabin!" comment you had on the other sketch. 

You like to do that cool thing with the flags to imitate an accelerando/ritardando? I can read the music, I'm guessing Scriabin is a key influence.


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## MJTTOMB

Here's a live recording on a decent piano of the first of my two sketches.


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## ricardo_jvc6

matt, I'm hoping you create a music like I creating now. Create something like this:

http://dl.dropbox.com/u/2738795/Étude de Variation Transcendental Nº 1.mp3

ÉtudeTranscendental Nº1 - Homenage à Liszt - My Variation in Db Major


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## MJTTOMB

A new piece, "Danse Vague". A miniature in a modern abstract style.

Comments/questions/suggestions?


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## MJTTOMB

A PDF score for the above piece is attached to this post.
View attachment Sketches for Piano- Danse Vague.pdf


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## Aksel

I can't access the site ...

EDIT: Nevermind. I got onto it after all.


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## Couchie

It sounds vaguely like a dance. I suppose it could be played at weddings towards the end of the reception when everyone is tired and extremely intoxicated, vaguely dancing and falling all over the place.


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## MJTTOMB

Couchie said:


> It sounds vaguely like a dance. I suppose it could be played at weddings towards the end of the reception when everyone is tired and extremely intoxicated, vaguely dancing and falling all over the place.


I'm hoping that this is a good thing? I can't tell if you're just being sarcastic or trying to say I effectively accomplished what I set out to write. It's hard to convey any sort of tone through the internet.


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## Aramis

You're going forward with actualizing your language but at the same time heavily backward with substantiality and sense.


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## MJTTOMB

Would you care to elaborate with specific examples from the pieces I've posted?


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## Aramis

How specific? Let me elaborate this way: I'm under impression that your sole purpose while writing these last pieces was to cross the border of tonality and stuff. Once you told yourself "this harmony is untraditional enough" you decided that all you have to do is mess around with it to make the piece least in such harmonic quality for some time. But apart from this acheivement the piece(s) sound to me like artistic nothing - note that I'm not Saul that don't dig anything modern and bash music just because it is more contemporary than Mendelssohn. Also, the left hand in Danse Vague is worse and sounds primitive even in comparison with your earliest, famously heavy-handed waltzes posted on this forum. That's why I think that apart from getting more modern you're actually regressing more than progressing.


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## MJTTOMB

Fair enough, though I would disagree quite emphatically. My harmonies are all derived from relatively rigid harmonic structures. Non-traditional or not, they are far from random. Chords are constructed typically from 4ths, tritones, and 7ths. The most commonly used chords are the major 7, flat 5 and the dominant 7, flat 5. The whole-tone scale is frequently used to dictate harmonic possibilities, as is the promethean scale and the octatonic scale. There is, believe it or not, a theory to the way I write. I do not simply throw random notes onto a page. I consider my motivic material carefully, as well as my harmonies, colors, and structural elements. The heavy-handedness you so strongly detest is an aspect that _I enjoy_. If you do not enjoy works with heavy left hand parts, that is entirely up to you, but do not think your opinion about what a waltz "should" be will, in any way, detract from what I try to accomplish through my own work.

You can say it is an "artistic nothing", but the same could be said of virtually everything posted on this forum by any user, without needing any further explanation or support. It is a meaningless statement. It is an empty, stupid accusation that carries little weight. The time of the "artist" is long gone. We have inflated the concept of the composer as an artist to absurd proportions, where the composer injects inane stupidity into sound solely for the sake of being "artful". _Art_, in my opinion, is dead. Its extravagance, its elitism, its exclusivism have all led to its well-deserved demise.

Instead, I aim to be a craftsman. If my work sounds primitive, then so be it. It was my aim to craft sound around emptiness, around the meaninglessness of life ant the contemptible fashions of humankind. You don't know how I conduct my craft or how I derive my harmonies, so please, Monsieur Aramis, don't tell me what my purpose was.


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## Aramis

Randomness is not what I'm talking about at all. I know you have concerete ways of developing harmony and stuff. My whole point is that you came from writing romantic, "nice" waltzes and other pieces which were getting better and better to some new style that is perhaps to you like some promised land in which you feel more accomplished but from my point of view since you got to this promised land you look around and can't catch anything meaningful to do except simply "being", staying there for it's own sake.



> The time of the "artist" is long gone. We have inflated the concept of the composer as an artist to absurd proportions, where the composer injects inane stupidity into sound solely for the sake of being "artful". Art, in my opinion, is dead. Its extravagance, its elitism, its exclusivism have all led to its well-deserved demise. (...) It was my aim to craft sound around emptiness, around the meaninglessness of life ant the contemptible fashions of humankind.


So, would you eventually become another composer writing degenerated, empty music in service of rather weak, sick and pretentious pseudo-philosophy? I know it happens but I thought you're too young for that. Bad influence, I guess. Think it over, please.


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## MJTTOMB

It's pretentious to consider myself as a craftsman to be on the same plane as the working man? The concept of musicians as craftsmen is no a new idea. Long before the romantic era created cults of personality around musicians like Liszt, J.S. Bach viewed himself as a skilled craftsman on the same level as a silversmith.

Maybe I'm too young to say I have my own defined style or ideology, but I don't see how my search somehow means my current ideas are a "sick and pretentious pseudo-philosophy". I don't know why you keep attempting to say my work is meaningless. Like I've said, "meaningless" is, in itself, an empty accusation carrying no weight. It's entirely subjective. Could you, for instance, point to a specific bar number that you found particularly devoid of "meaning"? Which musical elements or textures in the piece specifically lack "meaning"? What would one add, hypothetically, that would give "meaning" to the work?


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## Aramis

> It's pretentious to consider myself as a craftsman to be on the same plane as the working man?


No, but all those "dead art" theories and "building sounds around meaninglessness of life" are. I know that Scriabin was kewl, but not because of his weird ideas about zeppelins and mountain misterios so before you go there for your own weird ideas I think you should, like him, live through you more sane period of creativeness. Start getting mad somewhere after your 5th mature piano sonata, that's my advice.



> Could you, for instance, point to a specific bar number that you found particularly devoid of "meaning"? Which musical elements or textures in the piece specifically lack "meaning"? What would one add, hypothetically, that would give "meaning" to the work?


How could I point more and less meaningless bars in work that I consider the be meaningless as a whole? If there is no meaning you can't divide things for those that have no meaning more than the others 

Besides, I don't "keep attempting to say my work is meaningless" - I said it once and in intention to tell you that IMO you choosen wrong patch and I would prefer to see you using your talents and efforts in more fortunate way and I hope that time will cause that since it seems unlikely to me that from writing pieces describing mythological gods and waltzes you suddenly moved to this whole new stuff for good. Temporary craze and fascination with wrong stuff, gudgeon in the head, that's what I think - time will show.


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## MJTTOMB

Speaking of Scriabin, he died 96 years ago today.

I suppose I can see the point you're trying to make, I guess we'll just have to agree to disagree.


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## MJTTOMB

A bit more in the neo-romantic vanilla style, here's something I've been working on a bit. It's still a work in progress but for now I plan for it to be the equivalent of a little concerto movement for piano and string orchestra.

Since it's at such an early stage in development (I started it all of 12 hours ago), any suggestions or advice would be much appreciated. It's nothing extraordinary, but it's the first thing I've written in months and I'm deeply enjoying writing it, so any sort of feedback that would help fuel my creative momentum would be really great! Thanks so much!

Listen Here


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## Aramis

I didn't notice "Aramis is forbidden to comment" note so I will write couple of things

I like very much the opening by strings and I can't point out any weakness in it. It's more beautiful than anything I ever wrote. 

The first enterance of piano clearly require refinement. My idea would be that you could suspend the 1:39/40 chord and let it ring out silently (but not with full forte-to-ppp decrescendo) and then introduce the piano after pause - short, but noticeable pause long enough just to breathe a sigh.

You succeeded in fitting the theme for more pianistic facture rather well. 

We are very moved, if you will encounter any problems with getting this thing performed let the man who will cause it know that he will deal with me, I'm a desperated bear ready for desperate measures.

By the way, I don't think that string orchestra and piano work well together. No big colouristic dissonance but it lacks greater chemistry IMO. What about solo strings quartet/quintet instead? Or adding some winds, the horn would be warmly welcomed by the strings if he would like to join them in opening section.


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## MJTTOMB

Hahah, of course you're not forbidden to comment! Even when you dislike my work your opinion is still valid and helpful! On top of that I don't think I've ever heard you describe something I've written as beautiful, so there's something I can be proud of!

I ended up taking your suggestion regarding the break before the entrance of the piano, it was a great suggestion, I'm glad you brought it up! Interestingly enough I think a horn would work really well at some points in this, I might consider adding one as I go back through the drafting process.

I've finished an effective rough draft of the full movement if you'd be interested in hearing the progress I've made:

__
https://soundcloud.com/mjttomb%2Felegie-in-e-minor

It's still very vanilla, but there are a few elements of early Scriabin and a little bit of Gershwin flair, particularly at the end.


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## Aramis

As for the new parts, I think they came in to quickly. I know it sounds stupid when I say such thing but more development of the theme is must-be, you intruduced theme with strings, then presented it again in pianistic arrangement but take it step or two further, give it more alternative ending or something. 

This new tremolo makes me think of Chopin's F minor concerto's slow movement. It's like ABA form with lyrical A and dramatic B which is based on similiar part of strings playing long tremolo notes in the background and piano part over it. I don't know how long do you want this piece to be but if it should least a good couple of minutes then I think such form would work pretty well - extending the lyrical part, putting tremolo part in the middle as outburst of more desperate emotions coming from the heavily melancholic mood you settle at the beginning.

I guess my comments are a bit too much into artistic merits which are very personal matter than can't stand suggestions other than those from inside but I already wrote that so I'm sending the post anyway, he.


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## MJTTOMB

I wouldn't say it sounds stupid, I somewhat agree. Thankfully this is still a rough draft. I hadn't noticed that I neglected to further develop the first theme, so when I go back in the future to add in material, that seems like that would be the most obvious place to start.

It's interesting that you view the principal theme as the lyrical section, to me it's far darker, and the second, the tremolo section, is somewhat of a respite (I actually lifted the idea from the slow movement of Scriabin's piano concerto, so you're not far off the mark).

I like the idea of using ABA, it's a pretty dependable second-movement form. Did you think the piano part in the finale was too heavy-handed and coarse?


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## Aramis

MJTTOMB said:


> It's interesting that you view the principal theme as the lyrical section, to me it's far darker, and the second, the tremolo section, is somewhat of a respite (I actually lifted the idea from the slow movement of Scriabin's piano concerto, so you're not far off the mark).


Lyrical doesn't stand in opposition to dark character. I used term "heavy" to describe it before but I think that it's lyrical in it's darkness. The other part is lighter indeed but it all will depend in which direction you will decide to take it - my guess was that you would add more intensity and dramatic tremolos and place disturbed, wild piano part over it.

And, on the side note, I just thought that in the moment when the first theme ends so far (played by piano) it could fall, just from where it ends right now, into fast passage facture (rather in right hand) with some aditional phrase or perhaps a melodic stuff over it, just like in Chopin's E minor, see here from 1:50, the key moment is around 2:25:






Such conversion seems natural to me in context of what you wrote already.

As for the heavy-handness I think it all depends on the pianist who will perform it. It could have more interesting and varied facture but it's not that bad.


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## MJTTOMB

Added a _very_ brief passage with some development and a bit more tension, as well as a few other revisions.


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## Aramis

Love the piano passage from 4:18 to 4:25, very well done. As for the developement after 2:18, the midi recording doesn't really make it justice, it may be one of two: good or great. I'm not sure what did you do to the slowest part starting at the end of 3rd minute but it sounds much better now. It generally has legs and hands, yyy, it seems well shaped (formally), it's a bit too short though. The shortest good lyrical movements I know least at least six minutes, otherwise they're too short to settle a mood. By the way, I don't dig the idea of whole thing - is it all going to be elegie in multiple movements or is elegie only one of planned movements of cyclical concertino?


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## MJTTOMB

Still in the drafting process, I've scrapped the idea of doing a full Concertino and I think I'm just going to let it stand alone as a single movement (clocking in at roughly 7 minutes in length). Élégie et Rhapsodie (Listen)

As always, feedback is appreciated.


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## ricardo_jvc6

MJTTOMB said:


> Still in the drafting process, I've scrapped the idea of doing a full Concertino and I think I'm just going to let it stand alone as a single movement (clocking in at roughly 7 minutes in length). Élégie et Rhapsodie (Listen)
> 
> As always, feedback is appreciated.


Sounds great, but I hate the violin sound, its not catchy at all.


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## Aramis

GREEDINGS JOHN 

I likes the score many lovely black badges, dashes, dots, how charming MMMMM

As for the music, I've already expressed my enthusians and since then you didn't particularly change the whole thing, just refined it. But I think that there are still things to refine. First enterance of piano and other transitions between diffrent parts of the work. But overally I find it very well done, very beautiful, DON'T KNOW WHY YOU NAME YOUR WORKS IN FRENCH BTW, and how did you reach 130 plays on soundcloud? Or it's just me who made the hundred of them? HO HO HO. Are you putting any effort to get this performed?


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