ฝัง
- เผยแพร่เมื่อ 27 เม.ย. 2024
- Here's a link to the score on musescore:
musescore.com/user/45506576/s...
This is a culmination of a lot of work. A lot more work than normal. I have deleted more bars of music than I think I have ever deleted for a single piece. So, many failed attempts and failed motifs and ideas. There are probably like 20 3-minute long recordings on my phone of just ideas. And then shuffling through all of these and reworking things and re-orchestrating things. This has been, by far, the most tedious and time consuming and frustrating project that I have ever begun.
That being said, I have mixed feelings about it. I'm probably going to continue to make small changes to this, while mostly maintaining the general structure that you see here. But over all, I am pretty happy with what I have produced.
The first movement, which out of all of them was the easiest to write, came naturally to me. It was relatively straightforward to orchestrate, and aside from experimenting with trills, brass registers, and solo parts, nothing was really that challenging for me technically. From a harmonic standpoint, this movement frustrated me like nothing else that I have written. There are two central motifs of this first movement. The first motif, which continues to appear throughout the movement I treated more like an opening motif than an element of the symphony. So, it's use in development of the piece, for the most part confined to the first movement. The trill pattern that accompanies it is alluded to in the fourth movement and I believe the third as well. The second motif is the interesting one that forms the dissonant chord cluster. This essentially becomes the central motif of the entire symphony and is alluded to, at some point, in all of the movements, to add to the cohesiveness of the piece. My frustration came about after like two months of trying to write something that was even close to as good as this movement was. I was having a serious writer’s block.
The second movement is very self-contained. It has essentially one motif and it builds to a very specific point. There are some interesting chord progressions, which is honestly the only reason that I kept the movement instead of shifting gears. The diatonicism of this movement becomes a source of contrast as the piece continues. I did however slip certain motifs from the third and fourth movement into the inner workings of this movement, so if you really want to look for Easter eggs, this movement has a few.
The third movement was actually composed last. I was struggling with this movement because originally I was writing something that I didn't like. I actually don't remember what it was, but I ended up deleting it out of frustration. Then, I started writing an idea that was heavily inspired by the beginning of Korngold's violin concerto, which if I had dedicated more time to, might have been a viable solution, but I'm not sure whether it really would have gone. Anyhow, I completed the fourth movement recapitulation and in doing to came across this chorale idea for the French horns that I found interestingly chromatic. So, I decided to develop that into what is now the third movement. Slight changes in orchestration will probably eventually happen, especially to this movement.
The fourth movement is by far my favorite, and I didn't think that I was going to write something that I liked better than the first movement. But I'm really proud of what I made here. It's built basically off of extended harmony around minor7b5 chords, which produce an ambiguous sonority that allows me to experiment with tritone substitutions as well as some unusual cadences. This was a fun exercise in orchestration as well. If anyone is a percussionist and can tell me whether the part that I've written for glockenspiel is even playable, I would greatly appreciate it.
As always, I need your feedback. Suggestions, critiques, and I suppose complaints are all welcome. I feel like someone's going to take that seriously. Oh well. (Thanks so much to those who've already made some suggestions. I've made quite a few improvements already because of them.)
I. Quasi Adagio (0:00)
II. Allegro Molto (7:46)
III. Lento (13:57)
IV. Moderato (20:41)
#justiceforsalieri #music #classicalmusic #symphony #contemporaryclassicalmusic #originalmusic #minor7b5 #orchestra - เพลง
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I. Quasi Adagio -- 0:06
II. Allegro Molto -- 7:46
III. Lento -- 13:57
IV. Moderato -- 20:41
Took me a minute to figure out how to add chapters to a video. The next question is whether I can edit my score, make a new video, and essentially update this video, or will I need to upload an entirely new video?
Very beautiful ❤❤
The motion is graceful and smooth, not artificial...
Melodies come and go easily...
This is great!
this was ethereal. hopefully someday i'll hear this symphony live
That’d be awesome if it actually got performed one day. Thanks for listening!
This was a really delightful listen, with much beautiful music...that harkens back to the best of the romantic era in a package that feels reasonably unified in effect and well-structured.
1st movement; a bit French impressionist at the start; there is the oscillating up and down motif culminating in that tense climax...it seems to then evolve and finally at about 4 minutes in it really opens into a full-fledged melody. It has the feeling of having been rather intuitively realized. It is very well done. Also reminds me a little Gershwin very remotely...a definite American sound.
2nd movement: this bears the imprint of Brahms or even Tchaikovsky...but it also has a romantic sound that seems to have come down from Wagner...
3rd movement again reminded quite a bit of Wagner's Tristan at the start...but almost a more innocent Delius kind of sound. Quite lovely...with a very heartfelt build-up...the ending feels more Brucknerian.
4th movement: The French impressionist feeling returns here at the outset; very mysterious and shimmery...quite beautifully orchestrated. It has a marvelous lightness...very different in texture than the other movements...in many ways the most inventive mesmerizing of all the movements.
Overall: Very easy to enjoy... intelligent and listenable...Most everything makes sense and the structures are discernable and well-rounded. Behind it all is a sound and voice that is emerging...while the range of stylistic referents can create an impression of a kind of survey or pastiche feeling.
Thanks for listening and for commenting!
Hi, nice work, rally beautifull. Just curiosity the playback is from musescore??
Yeah. I don't really know how to do any like production stuff so I just use the default musescore sounfont and just tweak the playback volumes in the mixer pannel.
1.3K views!? How? This is so good to the ear! You deserve a lot more views!
Thank you!
ALSO THIS IS AMAZING
Just amazing, Congrats on finishing it
Thank you! 😊
First, kudos to your amazing journey as composer!
I’m a fellow composer and have been writing for about 10 years now…wow time has flown. I always love listen to new composers! I think you a great voice and clearly you love to write so keep that up.
Now honest critique time. Having learned from myself a lot, I think I feel your pain when you say sometimes you feel frustrated in the way you write. I’ll say this, when my help are a couple things here.
1. Transitions: you clearly have a lot of ideas when you write, and that’s a good thing, but sometimes sections just seem to start and stop one after the other, and if you focus on, maybe using an instrument to guide yourself to the next section, or use crescendos and decrescendos, to help section flow together, it might give you more cohesive ideas when you write as well.
2. Voice leading: i’m not sure how much you know about this, but it’s just pretty much knowing how linear melodic lines flow together, that will help tighten something up too 👍🏽.
If you want to reference any of my pieces, I specialize in symphonies and whatnot so I’m always open to feedback and questions as well.
Other than that just keep building. I definitely like where you’re going and can’t wait to hear my stuff from you. Hope this helps!!
Hi, i am also a composer, but a very unexperienced one (I only started for 6 months). Could you please stop by my channel and give critiques of what i should change ? I find critiques like these are really usefull, and it would mean a lot if i receive opinions from an expert. Thanks a lot !
This is very impressive! Well done
Thank you for listening!
Very beautiful opening movement. Nice to see how the second movement developed. I don't think I have ever heard you take on this post-romantic era style before with being unusually diatonic from your usual style. Very well enjoyed overall.
My only thought would be the ending in my opinion, which seemed to be too short (or lack climax) for a half-hour long symphony to sound complete.
I hope this helps!
Thank you! I totally agree about the ending, and that's high on my bucket list of things to change. Also, did you change your profile picture or just like crop it more tight?
@@etc.-1912 I cropped the original image for a good profile picture change, mainly for this account. :)
An excellent classic of our time !!!
I like this attractive symphony very much (^^♪
Thank you!
Thank you for your reply!
Areas that I'm looking for feedback:
1. I don't know a whole lot about glockenspiels, but I feel like the Fourth Movement glockenspiel part would be pretty difficult, if not impossible.
2. I know that the harp part is playable, but I don't know how difficult it would be. If you're a harpist and want to take at it, I'd appreciate it.
3. The contrabassoon solo that goes down to the low Bb in the fourth movement! I play bassoon, not contra, so I know that that would be quite difficult an octave up for bassoon, and I assume it would be for the contrabassoon too. Is it playable?
4. The timpani part in the fourth movement and elsewhere. I'm still not sure I understand the timpani's abilities, and my solution in the past has been to score very conservatively. But my fourth movement is challenging for basically all of the instruments (the fast string arpeggios for instance.) I'd love to know how I've done with it.
5. Otherwise, I don't really have any questions. If you see a concerning part, let me know!
So I reviewed some of these parts so I can give you my 2 cents.
1) I think the run up parts in the glockenspiels are a bit difficult to play, but the triplets afterward are okay.
2) I am not a harpist, but it looks fine to me. I would just watch how much it would stick out compared to the orchestra. I typically just turn down the harp a bit in the mixer to make it more realistic.
3) The Bb in the contrabassoon should be fine, you just need a skilled player to play it.
4) Timpani scoring looked fine from what I saw except for maybe at some points tying multiple measures (unlikely to have the pitch ring that whole time from one strike of the kettledrum). My rule of thumb is no more than different pitches at a time for a passage. Indicate different pitches whenever there is changes before a passage while giving the timpanist enough time to change the pitches.
Nice composition!
@@briantorres3559 Thanks. Yeah, I was aware they probably wouldn't be audible. I left a little note on there that said "let ring." This was initially just because the orchestration used to be more sparse and I forget to revisit it. I'm glad that you pointed it out. Thank you so much for the thoughtful comment and for listening!
i can taste a bit of shostakovich here 🥰
Enan, this is a great work! It's difficult to make suggestions because that has always to do with one's own preferences. First and foremost: I really enjoyed your symphony. That is of course what is is all about. At some points you use a lot of instruments and in this rendering of the piece some instruments can't be heard properly - is a pity. Please continue writing you have a great talent for it. Thank you for sharing! And I wil follow your musical work of course!
For some reason, I can't figure out how to get trombones and trumpets to really work in musescore when they're playing pianissimo. I'm sure there's a way to get them to sound better than what I've gotten. But I'm not that great with musescore's mixer pannel, tbh. 😂😂 Thank you for listening!
Excellent work my friend
Thank you!
My god, the first mvt is so beautiful
Thank you! I legit didn't write anything for a good month and a half after I wrote that movement because it felt like I'd peaked. Sadly, I had. But that didn't stop me from composing! jk 😂😂
Hey bro it's like that for me too. I don't compose for weeks and when I get on the piano I get confused. Usually, it is when I feel like I know nothing about music that I start to discover something new. And when that happened, suddenly in a week I got 32 minutes of music. So keep going, I love your work.@@etc.-1912
@@carlosr2298 I always record my ideas on my phone with like the voice memos app. That's what I did with this piece. And then as I was developing my ideas, I'd replay them and rework them, rerecording them as I go. I end up with a lot of little audio recordings, that I have to organize, but I feel like I don't lose any ideas this way. Because I feel like 90% of the best pieces that I could ever write will never be started, just because they don't get past the idea stage. Also, it helps because sometimes I'm feeling more like writing stuff down, orchestrating, and arranging, and sometimes I'm feeling more like ideating and theorizing about music theory. 😂😂
@@etc.-1912OMG I find this so relatable, usually random ideas pop into my head and I end up humming them on my phone so I don’t forget. Especially when I’m outside or don’t have access to a piano or manuscript book.
@@etc.-1912holy shit we're the same person
not just 90 but more like 97% of my ideas never get written on paper
i sometimes hum in the shower but whenever i have something really beautiful i never manage to record it😢
Wow, this is really beautiful!! I’m also a young composer and I aspire to compose a symphony. What was your process for this? Did you compose on a piano score first, then orchestrate?
Well, it varies a bit. There have been orchestral scores that I composed on the piano for the piano first and then "upgraded" to orchestra like someone like Ravel would have done. While I will say that most of my ideas are simply ideas and aren't inherently written for large ensemble, piano, or something, for the most part, I tend to have a pretty good idea of where I want to take an idea when I'm conceiving it on the piano. So, I'll typically record a sloppy idea on my phone that I come up with on my piano and then I'll create my orchestration from that recording, most of the time. But my phone recordings are just ideas. Most of the hard work is done off the piano on MuseScore just deciding how the layers are all going to work out. But there's really not a right or wrong way to do it. I've created scores without ever coming up with an idea on the piano first and then there are times when my ideas or completely dependent on my original recording and I add nothing new. So, it really depends what works best for you as a composer and what makes the most sense for the piece your writing. The important part is that finding a way to jot down or record ideas because they are very easy to forget. 😂😂
@@etc.-1912thanks for the advice!! I didn’t think of recording my improvs… now hopefully I’ll be more efficient!
Good work go on . First second third keep working it is always a lot of work and thinking sketching it is like sodoku it have to fit musically and if you leave it alone for a while judge and make corrections if needed.
Yeah, I'm slowly reworking things and planning an alternative ending to the fourth movement, and I will probably continue to tweak things and add to the orchestration. Thanks for listening!
NO WAY YOU HAVE A YT CHANNEL???
Unfortunately... I wasn't going to, since I don't think my boomer parents would appreciate it very much. But I don't think it'll ever get to the place where I would need to tell them since I don't really use it for much.
Also... you have a TH-cam channel????
Yayyyyyy
Thanks for listening!
Where did you study composition bro?
I haven't. 🥲🥲 I'm just a college student actually majoring in photography. The extent of my musical training was in my previous community college, last year when I won a music scholarship that allowed me to take music classes along with my art classes. I took music theory, aural skills, and piano lessons, along with being part of both the choir and the theatre production, for some strange reason. I'm hoping to minor in composition at my current university, which should allow me to take some composition classes, but the bureaucracy at this university has made things rather difficult. I needed to take 300-level classes, which means that I basically had to convince the composition instructor that I was able to skip the prerequisites, which is what the first movement was for. It did work, so currently, fingers crossed, I should finally be able to take composition classes. Thanks for listening, though!
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