# My Midi Compositions.



## JamieHoldham

Decided to add any compositions I make via Midi here, so I don't ever have to make multiple posts if I ever make more.

This is a old one which has some flaws, but has a small charm to it, a Waltz in C Major for Organ.

Dedicated to Samuel from these forums who likes to compose Waltz's himself, and has helped me alot since I arrived here on these forums.

.wav: https://drive.google.com/open?id=0BxxOhd_SjRuUYXNiMVl5ZzYzRmM
pdf: https://drive.google.com/open?id=0BxxOhd_SjRuUanUzN1hGeWJVaDQ


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## Pugg

JamieHoldham said:


> Decided to add any compositions I make via Midi here, so I don't ever have to make multiple posts if I ever make more.
> 
> This is a old one which has some flaws, but has a small charm to it, a Waltz in C Major for Organ.
> 
> Dedicated to Samuel from these forums who likes to compose Waltz's himself, and has helped me alot since I arrived here on these forums.
> 
> .wav: https://drive.google.com/open?id=0BxxOhd_SjRuUYXNiMVl5ZzYzRmM
> pdf: https://drive.google.com/open?id=0BxxOhd_SjRuUanUzN1hGeWJVaDQ


Is the first link one that we can use to listen to your music?


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## JamieHoldham

It is indeed, the 2nd link is for the score.


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## Pugg

JamieHoldham said:


> It is indeed, the 2nd link is for the score.


That one I can see, the first is not working or I am doing something not right then


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## JamieHoldham

Pugg said:


> That one I can see, the first is not working or I am doing something not right then


The link works for me, not sure why it wont for you :S


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## Xinver

I'm glad you can upload sound too.
It's an odd composition. The begininng is quite dissonant with a G-G#-A-Bb-D-E-Fb... all in the first measure. Well, that's not C maj, I think. Somtimes it seems to attach to the tonality but then appear accidentals that don't go anywhere (in a tonal sense).
From m.12 it seems to be clearing up until a true Cmaj.
The first part resembles the waltz feeling, but the part from, particularlum 23 onwards is like a baroque invention.. In this part, I wonder if the great activity in the pedal couldn't be playd by the left hand, leaving the pedal for longer (easier and actually pedal notes).
Al in all, I think it's an interesting piece.


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## JamieHoldham

Little fugue in C Minor "The Undertaker".

A fairly basic fugue I made in the space of roughly 1 hour. Has some rough edges and is dissonant (on purpose) towards the end but I quite like it overall, not a serious piece, just thought I should make and share something since I can't take photos of my written music for now.

PDF: https://drive.google.com/file/d/0BxxOhd_SjRuUVU91cnVFWS10ZHc/view?usp=sharing
.wav: https://drive.google.com/open?id=0BxxOhd_SjRuUa0Q2bGFyZmVmenM

The fugue is based as the title says; the theme of the Undertaker from the popular WWE / world wrestling entertainment company, a tribute to my childhood 

The theme for reference, which begins at the 30 second marker:


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## Alexanbar

This theme looks like a funeral march by Chopin


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## JamieHoldham

A sneak peak.......... not saying anything more.

https://drive.google.com/open?id=0BxxOhd_SjRuUX2dhQXJoRHpGZXc


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## JamieHoldham

A simple Partia for solo Harpischord, in Neo-Baroque style (ignore that the piece is in the wrong key, I didn't even notice until late into composing this )

PDF: https://drive.google.com/open?id=0BxxOhd_SjRuUNFRqbmRYRGVjUGM
WAV: https://drive.google.com/open?id=0BxxOhd_SjRuUdjlraEJKeWs2YkE


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## Gradeaundera

JamieHoldham said:


> A simple Partia for solo Harpischord, in Neo-Baroque style (ignore that the piece is in the wrong key, I didn't even notice until late into composing this )
> 
> PDF: https://drive.google.com/open?id=0BxxOhd_SjRuUNFRqbmRYRGVjUGM
> WAV: https://drive.google.com/open?id=0BxxOhd_SjRuUdjlraEJKeWs2YkE


I commend you for trying but this is a little too similar to something else, that is very well known: :lol:


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## JamieHoldham

Sketches for the Overture of my Opera: Lif, Lifthrasir and the Hoddmimis Holt.

All ideas, and all subject to massive change.

PDF score: https://drive.google.com/open?id=0BxxOhd_SjRuUb2YydXYtUDlUNmc
.WAV: https://drive.google.com/open?id=0BxxOhd_SjRuUWHN4YzJvbC02ZFU

See this post for reference to the Opera I am talking about:

http://www.talkclassical.com/49689-lif-lifthrasir-hoddmimis-holt.html


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## David OByrne

JamieHoldham said:


> Sketches for the Overture of my Opera: Lif, Lifthrasir and the Hoddmimis Holt.
> 
> All ideas, and all subject to massive change.
> 
> PDF score: https://drive.google.com/open?id=0BxxOhd_SjRuUb2YydXYtUDlUNmc
> .WAV: https://drive.google.com/open?id=0BxxOhd_SjRuUWHN4YzJvbC02ZFU
> 
> See this post for reference to the Opera I am talking about:
> 
> http://www.talkclassical.com/49689-lif-lifthrasir-hoddmimis-holt.html


I'm really taken back by this, honestly. If you keep honing in on that darkness (as described in your plot summary, you could have something extraordinary here!


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## Bettina

^I agree with David. This is powerful music! Very dramatic beginning, with the hushed chord and the suspenseful cello melody. Your study of Wagner (and other composers such as Bach and Liszt) is really paying off. I'm struck by how much your compositions have improved within the past year or so. You've developed an individual voice as a composer - and you're a talented writer as well, which gives you the ability to write your own libretti.


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## JamieHoldham

David OByrne said:


> I'm really taken back by this, honestly. If you keep honing in on that darkness (as described in your plot summary, you could have something extraordinary here!


Thanks for believing in my abilities - suprised someone does


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## JamieHoldham

Bettina said:


> ^I agree with David. This is powerful music! Very dramatic beginning, with the hushed chord and the suspenseful cello melody. Your study of Wagner (and other composers such as Bach and Liszt) is really paying off. I'm struck by how much your compositions have improved within the past year or so. You've developed an individual voice as a composer - and you're a talented writer as well, which gives you the ability to write your own libretti.


And thanks again for the kind words Bettina, I certainly have learned alot since I first heard Beethoven's 9th Symphony in full, and begun to learn music theory + compose about a year and a half ago.

I hope to learn more and compose better the further along I get


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## Pugg

JamieHoldham said:


> And thanks again for the kind words Bettina, I certainly have learned alot since I first heard Beethoven's 9th Symphony in full, and begun to learn music theory + compose about a year and a half ago.
> 
> I hope to learn more and compose better the further along I get


Come on mate you know you can do it, ever since your first post, I see progress with huge steps.


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## JamieHoldham

Update to my Opera sketches, haven't added new material per se, just embellished what I have done so far - I also removed the doubling of all instrumentation, as I haven't advanced that far into the composition process that I need multiple instruments at one time and it makes the score tidier:

.wav: https://drive.google.com/open?id=0BxxOhd_SjRuUWHN4YzJvbC02ZFU
PDF: https://drive.google.com/open?id=0BxxOhd_SjRuUb2YydXYtUDlUNmc


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## Bettina

JamieHoldham said:


> Update to my Opera sketches, haven't added new material per se, just embellished what I have done so far - I also removed the doubling of all instrumentation, as I haven't advanced that far into the composition process that I need multiple instruments at one time and it makes the score tidier:
> 
> .wav: https://drive.google.com/open?id=0BxxOhd_SjRuUWHN4YzJvbC02ZFU
> PDF: https://drive.google.com/open?id=0BxxOhd_SjRuUb2YydXYtUDlUNmc


This opera is taking shape beautifully! You've got some great material there, with the ornamented bassoon passage and the cello melody. I'm looking forward to hearing how you continue to develop and combine these melodies.


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## Captainnumber36

Bettina said:


> This opera is taking shape beautifully! You've got some great material there, with the ornamented bassoon passage and the cello melody. I'm looking forward to hearing how you continue to develop and combine these melodies.


Bettina and Pugg are the two most supportive members of TC I believe, we are lucky to have both of you here!


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## Bettina

Captainnumber36 said:


> Bettina and Pugg are the two most supportive members of TC I believe, we are lucky to have both of you here!


Thank you! I feel that I'm lucky to have the chance to interact with the TC composers, particularly you and Jamie. Both of you are very talented and I always look forward to hearing your latest works!


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## Captainnumber36

Bettina said:


> Thank you! I feel that I'm lucky to have the chance to interact with the TC composers, particularly you and Jamie. Both of you are very talented and I always look forward to hearing your latest works!


Thanks, that is motivating!


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## JamieHoldham

Variatons on a theme of Handel: Passacaglia, for solo Violin, exploring various techniques such as octaves, tenths, thirds, tremolo, pizzicato, appregios, artifical harmonics and ect. A short and unfinished side project I have, which I am unsure if I want to add to my offical opus or not, or if I will even finish it. Written in inspiration from Paganini, and listening to various violinists, especially my favourite; Leonidas Kavakos. A example of his playing below:

(Audio will be low)





And here is the PDF of my unfinished composition, and if you want to hear it PM me since it doesn't work very well at all in midi form rather than on a actual violin:

https://drive.google.com/open?id=0BxxOhd_SjRuUeUFhNVk1R2VEckk


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## Vasks

Congratulations. You've written something for solo violin that's impossible to play. If you want me to point a number of those things out I'd be glad to.


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## JamieHoldham

Don't need to tell me genius I know, just sketching it out, might not even complete it.. but I'm sorry that didn't occur to you Einstien.


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## Daniel Atkinson

No need to be hostile Mr Holdham, whether it's playable is a legitimate concern for any new work. It's all too common among amateur composers such as yourself to give something to a performer that they cannot play, only to be turned down. 

Vasks also highlights that it is problematic to take such heat towards something so basic like that, when you are handing out your progress like this, he has every right to critique it (but he wasn't bashing the composition itself)


There are two ways to approach that situation: 1. take it on board and keep improving or 2. Be offended, as you have. It does not appear to be 'negativism' as pugg states, it is asking of basic composer conduct. 

ala 
"Yes Mr Vasks, I recognize this piece is impossible to play. There are things in the harmonies that I want to express here, so I have attached a sketch of my piece. If you have any advice to help make the best of this piece, please kindly show me some pointers if you are willing. Thank you" 


It bothers be why someone would even share a creation if they are going to be hot-headed about it, just saying.


Best regards



Daniel


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## Samuel Kristopher

I absolutely agree with Daniel. I saw nothing hostile in Vasks comment - he even offered his advice and help for correcting the parts. If you can't handle even this sort of criticism, it makes me wonder how on earth you plan to deal with scathing newspaper reviews of your work, if or when you ever get to that point. 

Also, I dislike this attitude I've been seeing towards constructive criticism - calling it things like "negativism". I come here because there are experienced musicians and composers here who give me straightforward and direct feedback on my work, so I can think about how to make my next piece better. I don't think this should be a place to pad one's self-esteem or build up a fan-club of yes-men. What's worse is that, out of the two of you (you and Vasks), you were the one who came out with passive-aggression, then outright aggression and insults (the worst that could be said of Vasks' comments is that he was direct), and that some members of the community liked those comments, condoning this sort of reaction and behaviour. I'm disappointed, to be honest.


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## hpowders

Imagine you are a playwrite, an actor, a director, author or composer on a national stage and you get the morning paper to read what they thought of you.

Critics are just that. They will criticize. They will have no regard for your "sensitivities".

They will be brutally honest. That's their job and it comes with the territory.


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## JamieHoldham

hpowders said:


> Imagine you are a playwrite, an actor, a director, author or composer on a national stage and you get the morning paper to read what they thought of you.
> 
> Critics are just that. They will criticize. They will have no regard for your "sensitivities".
> 
> They will be brutally honest. That's their job and it comes with the territory.


I do agree with you, critics must have such poor and pathetic lives, and no talent or aspirations to take up criticising others as a "job".

It's sad really.


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## hpowders

JamieHoldham said:


> Whatever little respect I had for you is gone, thanks for revealing your true colours.
> 
> Not going to even indulge you by replying to you, talking to you or even remembering you exist. I have limited time on this Earth, and I have NO patience wasting it on critics.


Relax! Write some more music and let us hear it!!


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## JamieHoldham

hpowders said:


> Relax! Write some more music and let us hear it!!


I'd love to!

And I WILL continue to, critics or not.


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## mmsbls

OK let's calm down and stop treating each other awfully. Jamie posted some works. Others posted comments and criticisms. That's all reasonable. Then things escalated out of control. Get back to commenting on the works and not each other.


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## JamieHoldham

mmsbls said:


> OK let's calm down and stop treating each other awfully. Jamie posted some works. Others posted comments and criticisms. That's all reasonable. Then things escalated out of control. Get back to commenting on the works and not each other.


Gladly.

Also a update on the variations, variation 9 complete and 10 complete, 11 on it's way.

PDF: https://drive.google.com/open?id=0BxxOhd_SjRuUeUFhNVk1R2VEckk


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## Daniel Atkinson

It appears as though I have missed all of this. While I have no wish to dig Jamie's trench any deeper, I have a few thoughts. This is relevant to any other composers around here and future members of this site:

* If you are hypersensitive about your own work, you are better of not sharing it on a public forum like this, For your own good.
* If you want to be taken seriously as a composer, immature remarks and hostile attacks over the most basic things is strongly not encouraged 
* Beware of the risk of sharing incomplete works. If it doesn't bother you, than share away.
* Remove any personal feelings when discussing your works, your works may be personal to you but you are discussing something you've made, not yourself.
* Keep the presentation of your work positive and straightforward as possible, else-wise you will turn many people away
*Take everything on board but not personally, nobody has it out for you, they just have different ways of communicating those thoughts. 
* Make finished works your primary focus, otherwise the majority won't be intrigued if they see your name

Same thing goes for this very problem that was blown out of proportion straight away. If something is unplayable and you are still willing to share it, highlight the fact that you are still revising and polishing your piece. No shame in that? 

Best regards

Daniel


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## JamieHoldham

Also variation 11 "artifical harmonics" is complete:

PDF: https://drive.google.com/open?id=0BxxOhd_SjRuUeUFhNVk1R2VEckk


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## Vasks

I would like to point out that your artificial harmonics variation also is not playable.


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## JosefinaHW

JamieHoldham said:


> Variatons on a theme of Handel: Passacaglia, for solo Violin, exploring various techniques such as octaves, tenths, thirds, tremolo, pizzicato, appregios, artifical harmonics and ect. A short and unfinished side project I have, which I am unsure if I want to add to my offical opus or not, or if I will even finish it. Written in inspiration from Paganini, and listening to various violinists, especially my favourite; Leonidas Kavakos. A example of his playing below:
> 
> (Audio will be low)
> 
> 
> 
> 
> 
> Jamie I hope you don't mind me making a comment some what off the OP, but I want to thank you for recommending Leonidas Kavakos! You know my memory is worse than a sieve, but there are six recorded concerts of him performing with the Berlin Philharmonic on their DigitalConcertHall and there are two recorded interviews with him on there as well. I am finally going to watch those performances starting this evening.
> 
> Many Thanks!
> 
> P.S. I have several free 7-Day passes to the DigitalConcertHall.com if you would like to watch those concerts too.


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## JamieHoldham

Don't worry about going off topic Joesefina, Vasks and his lackeys have made sure of that.

Regardless, don't thank me for letting you know of Leonidas, thank you for taking interest in him, I think he is underappreciated in my opinion.

P.S: sorry for no reply to the recent email, been semi-busy and have a terrible sleeping pattern at the moment.


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## mmsbls

Unfortunately personal comments have not stopped. We have temporarily closed the thread.


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