Piano Concerto No 3 in G Minor
- KVRAF
- 3177 posts since 28 Aug, 2012 from Melbourne, Australia
Wow! Lots to listen to but it's worth it...
Plenty of interesting music that pays homage to certain composers style. I don't know who, but I can hear it in the melodies and harmonic flow. Love your use of instruments.
My only small comment is that while most of this sounds played, a few parts sound sequenced which I don't think is right for this style. (In particular the fast piano lines). Maybe humanise these??
Still, a major task and I thoroughly enjoyed it.
Well done!
Plenty of interesting music that pays homage to certain composers style. I don't know who, but I can hear it in the melodies and harmonic flow. Love your use of instruments.
My only small comment is that while most of this sounds played, a few parts sound sequenced which I don't think is right for this style. (In particular the fast piano lines). Maybe humanise these??
Still, a major task and I thoroughly enjoyed it.
Well done!
Bandcamp
Music with progressive intent.
Music with progressive intent.
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- KVRian
- 950 posts since 30 Nov, 2004
very beautiful and deep, keep it up!
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- KVRian
- 893 posts since 12 Jun, 2006
That's a big task to complete!!!
There are some very interesting and clever ideas in here - all 3 movements, but for me it doesn't quite hold together as a fully satisfying complete piece as yet...
My big issue is the structure - both on a macro and micro level...too fragmented in certain sections and loses momentum and focus.
Linked to that is stylistic cohesion - for me there are too many disparate influences that haven't quite been morphed together successfully.
Having said that, it was a pleasing listen overall, (despite the dodgy MIDI sounds and programming) and you got further than I did many years ago...
I wrote a trumpet concerto whilst studying composition at University way back in the early 1980s...never finished the third movement though!!! Maybe one day!?
There are some very interesting and clever ideas in here - all 3 movements, but for me it doesn't quite hold together as a fully satisfying complete piece as yet...
My big issue is the structure - both on a macro and micro level...too fragmented in certain sections and loses momentum and focus.
Linked to that is stylistic cohesion - for me there are too many disparate influences that haven't quite been morphed together successfully.
Having said that, it was a pleasing listen overall, (despite the dodgy MIDI sounds and programming) and you got further than I did many years ago...
I wrote a trumpet concerto whilst studying composition at University way back in the early 1980s...never finished the third movement though!!! Maybe one day!?
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- KVRist
- Topic Starter
- 112 posts since 28 Apr, 2004
Hi guys.
Interesting comments,I'm not particularly bothered about the structure of these works,as I am entirely self taught and have never studied composition officially in any case so the music is always likely to be disjointed and inconsistent but I'm happy with it anyway.
I was advised to buy some professional sounds samples but as they can cost nearly a grand each for pro orchestral sets I thought there's no way I can justify paying that so I use Notion 5 or 6 and Miroslav Phil for some of the pieces.
Thanks for the interest guys.
R.
Interesting comments,I'm not particularly bothered about the structure of these works,as I am entirely self taught and have never studied composition officially in any case so the music is always likely to be disjointed and inconsistent but I'm happy with it anyway.
I was advised to buy some professional sounds samples but as they can cost nearly a grand each for pro orchestral sets I thought there's no way I can justify paying that so I use Notion 5 or 6 and Miroslav Phil for some of the pieces.
Thanks for the interest guys.
R.
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- KVRian
- 893 posts since 12 Jun, 2006
You've definitely jumped in the deep end for someone without any formal composition training! :0)
You said: "I'm not particularly bothered about the structure of these works,as I am entirely self taught"
As you continue to experiment with ideas, please don't ignore STRUCTURE. It's absolutely central to the vast majority of successful pieces across all genres. Not just the overall structure with regard to musical sections and how they ebb and flow, but the harmonic rhythm and pace of the music, the shape of each short melodic phrase etc etc.
There was a recent issue in a high level science environment where some seriously bright people could NOT get the structure of a new amino acid strong enough. I won't bore you with the full story, but they ended up stamping the shape of an orchestral piece by Mozart, (Piano concerto if I remember correctly) onto the experiment and it worked!!! The music's shape and structure at ALL levels was so strong, clear and also flexible that it helped to finish the chemical construction.
You said: "I was advised to buy some professional sounds samples..."
If you can afford it, they are a good idea, but effective MIDI orchestration is much more about how the notes are used rather than just the quality of the sounds themselves...
Too many MIDI orchestrations are seriously static, but real music is constantly ebbing and flowing ...this needs to be automated if a MIDI arrangement is to sound reasonably convincing.
Example:
VIOLIN SOLO - sustained notes are never perfectly on pitch...totally unnatural...as variations in bow pressure for one thing can change it very subtly.
Ditto volume of sustained notes - varies constantly but very subtly at times.
EQ - use the bow more emphatically and the high frequencies on a real violin are more apparent - the sound is brighter. But of course this fades away very quickly after the initial attack - needs automating!
I could go on, but I'm boring myself! :0)
The point is that detailed editing can make a MIDI arrangement very effective, even with cheaper sounds!
Created 100% from raw sound synthesis, (no samples whatsoever). Total memory, less than 64Mb:
https://soundcloud.com/bournvillemusic/ ... g-examples
It isn't perfect, but it would be very convincing in a mix!
This one,( cut down Vienna Symphonic Kontakt Library £300 or so) shows what I mean by constant automation to add movement to that solo cello:
https://soundcloud.com/bournvillemusic/ ... g-examples
(Programming and Mix: Jay Bacal
Good source of MIDI orchestration ideas, (I've used it many times):
http://www.midi-orchestration.net/
There are loads of others out there as well.
You said: "I'm not particularly bothered about the structure of these works,as I am entirely self taught"
As you continue to experiment with ideas, please don't ignore STRUCTURE. It's absolutely central to the vast majority of successful pieces across all genres. Not just the overall structure with regard to musical sections and how they ebb and flow, but the harmonic rhythm and pace of the music, the shape of each short melodic phrase etc etc.
There was a recent issue in a high level science environment where some seriously bright people could NOT get the structure of a new amino acid strong enough. I won't bore you with the full story, but they ended up stamping the shape of an orchestral piece by Mozart, (Piano concerto if I remember correctly) onto the experiment and it worked!!! The music's shape and structure at ALL levels was so strong, clear and also flexible that it helped to finish the chemical construction.
You said: "I was advised to buy some professional sounds samples..."
If you can afford it, they are a good idea, but effective MIDI orchestration is much more about how the notes are used rather than just the quality of the sounds themselves...
Too many MIDI orchestrations are seriously static, but real music is constantly ebbing and flowing ...this needs to be automated if a MIDI arrangement is to sound reasonably convincing.
Example:
VIOLIN SOLO - sustained notes are never perfectly on pitch...totally unnatural...as variations in bow pressure for one thing can change it very subtly.
Ditto volume of sustained notes - varies constantly but very subtly at times.
EQ - use the bow more emphatically and the high frequencies on a real violin are more apparent - the sound is brighter. But of course this fades away very quickly after the initial attack - needs automating!
I could go on, but I'm boring myself! :0)
The point is that detailed editing can make a MIDI arrangement very effective, even with cheaper sounds!
Created 100% from raw sound synthesis, (no samples whatsoever). Total memory, less than 64Mb:
https://soundcloud.com/bournvillemusic/ ... g-examples
It isn't perfect, but it would be very convincing in a mix!
This one,( cut down Vienna Symphonic Kontakt Library £300 or so) shows what I mean by constant automation to add movement to that solo cello:
https://soundcloud.com/bournvillemusic/ ... g-examples
(Programming and Mix: Jay Bacal
Good source of MIDI orchestration ideas, (I've used it many times):
http://www.midi-orchestration.net/
There are loads of others out there as well.