Saul's Music Space

[Joe_Campbell]

FWIW, I think the latest piece you posted (the B flat major) would be far more effective if you left the final chord as the B flat MAJ 7. The entire piece seems quite vague harmonically, and I think this type of ending would be more in keeping with the spirit of the rest of the piece.

Also, I found that, at the 9th bar, the restatement of the main theme felt out of place, as if that's not where the music was leading to. Not sure if this piece is up for revision, but I can definitely see something valuable in the trappings.

[greg]

FWIW, I think the latest piece you posted (the B flat major) would be far more effective if you left the final chord as the B flat MAJ 7. The entire piece seems quite vague harmonically, and I think this type of ending would be more in keeping with the spirit of the rest of the piece.

Also, I found that, at the 9th bar, the restatement of the main theme felt out of place, as if that's not where the music was leading to. Not sure if this piece is up for revision, but I can definitely see something valuable in the trappings.

I think the ending worked out just fine the way he did it. The Bb maj7 would sound a bit too predictable as an ending, and moving the highest note to an F still retains that sense of incompletion, while not being as predictable (now, if he had moved the A to a Bb, that I would complain about).

It sounds very nice- very simple as well. I would have liked some of the chords progressions to include notes that elevate the tension instead of being atmospheric, though I guess that's just my taste. 

[Mirror Image]

This will be my last post in this thread as I just want to make a few suggestions to Saul:


1. When somebody offers you an honest opinion, listen to what they say. Real classical listeners, like myself, think you can do much better. Those who praise it over and over again with no real explanation of why are not to be taken seriously.

2. Remember that 60,000 hits on YouTube doesn't mean a hill of beans in the classical world. True classical listeners know that YouTube is only a gimmick and real listening begins with good audio, stereo system, headphones, but also in the concert hall. That's where this music comes alive. Again, as I have said, music is not a competition, it's about expressing honest emotion.

3. There is hardly any variety in your compositions. You seem to compose the same kind of solo piano work over and over again and your orchestral works are seriously lacking not only in orchestration, but in meaningful ideas that reveal your inner self. Again, as I have said, you rarely rise to the occasion and show real emotion.

You can take what I'm saying into consideration or you can simply let it go in one ear out the other. The choice is yours, but take it from a serious classical listener and devoted fan, you will not gain any respect if you continue to walk around as if you can do no wrong. Whether you want to continue to improve your music or not is up to you.

[(poco) Sforzando]

FWIW, I think the latest piece you posted (the B flat major) would be far more effective if you left the final chord as the B flat MAJ 7. The entire piece seems quite vague harmonically, and I think this type of ending would be more in keeping with the spirit of the rest of the piece.

Also, I found that, at the 9th bar, the restatement of the main theme felt out of place, as if that's not where the music was leading to. Not sure if this piece is up for revision, but I can definitely see something valuable in the trappings.

I would be inclined to leave out both the last two bars and end on the simple dominant. I would recast 7-8- to avoid the simple dominant at that point, as it conflicts with the sixths and ninths used almost everywhere else. As for the stretches, I see no reason why in 12 you couldn't keep the chord in close position (D-G-Bb reading upwards), and the voice leading would improve. #13 can stay as is.

[greg]

Next competition: rewrite Saul's Prelude in Bb.

[(poco) Sforzando]

This will be my last post in this thread as I just want to make a few suggestions to Saul:


1. When somebody offers you an honest opinion, listen to what they say. Real classical listeners, like myself, think you can do much better. Those who praise it over and over again with no real explanation of why are not to be taken seriously.

2. Remember that 60,000 hits on YouTube doesn't mean a hill of beans in the classical world. True classical listeners know that YouTube is only a gimmick and real listening begins with good audio, stereo system, headphones, but also in the concert hall. That's where this music comes alive. Again, as I have said, music is not a competition, it's about expressing honest emotion.

3. There is hardly any variety in your compositions. You seem to compose the same kind of solo piano work over and over again and your orchestral works are seriously lacking not only in orchestration, but in meaningful ideas that reveal your inner self. Again, as I have said, you rarely rise to the occasion and show real emotion.

You can take what I'm saying into consideration or you can simply let it go in one ear out the other. The choice is yours, but take it from a serious classical listener and devoted fan, you will not gain any respect if you continue to walk around as if you can do no wrong. Whether you want to continue to improve your music or not is up to you.

All valid points.

[Saul]

This will be my last post in this thread as I just want to make a few suggestions to Saul:


1. When somebody offers you an honest opinion, listen to what they say. Real classical listeners, like myself, think you can do much better. Those who praise it over and over again with no real explanation of why are not to be taken seriously.

2. Remember that 60,000 hits on YouTube doesn't mean a hill of beans in the classical world. True classical listeners know that YouTube is only a gimmick and real listening begins with good audio, stereo system, headphones, but also in the concert hall. That's where this music comes alive. Again, as I have said, music is not a competition, it's about expressing honest emotion.

3. There is hardly any variety in your compositions. You seem to compose the same kind of solo piano work over and over again and your orchestral works are seriously lacking not only in orchestration, but in meaningful ideas that reveal your inner self. Again, as I have said, you rarely rise to the occasion and show real emotion.

You can take what I'm saying into consideration or you can simply let it go in one ear out the other. The choice is yours, but take it from a serious classical listener and devoted fan, you will not gain any respect if you continue to walk around as if you can do no wrong. Whether you want to continue to improve your music or not is up to you.

I have listened, and accepted a few points. I don't know what you want from me.

[greg]

I have listened, and accepted a few points. I don't know what you want from me.

He wants to eat your soul.

[Saul]

He wants to eat your soul.

The dude is beginning to scare the hell out of me...

Remember the movie 'Top Gun' where this blonde dude keeps on bugging Maverick telling him 'you're dangerous' every single day?

He kinda of reminds me of him...

[monafam]

Saul = Tom Cruise "Maverick"

[Saul]

I think the ending worked out just fine the way he did it. The Bb maj7 would sound a bit too predictable as an ending, and moving the highest note to an F still retains that sense of incompletion, while not being as predictable (now, if he had moved the A to a Bb, that I would complain about).

It sounds very nice- very simple as well. I would have liked some of the chords progressions to include notes that elevate the tension instead of being atmospheric, though I guess that's just my taste. 

Greg, Joe has his opinion, but I'm glad that you understood the ending, you connected to what I wanted to do in this piece. You used the word 'predictable ' and you're right for saying that, that's exactly what I was trying to avoid.

About adding a few notes that  would 'elevate the tension instead of being atmospheric' I wanted to stick to atmospheric, I had no problem with adding a number of things here and creating a much more complex piece, but I wanted to keep it simple.

[(poco) Sforzando]

He wants to eat your soul.

No, he doesn't, Greg, and you should know better than that. Unfortunately by making such a statement, you are simply giving Saul license to return to his barely disturbed, self-absorbed complacency.

I am still waiting answers to my two questions about the "orchestration" in Magpie.

[Joe_Campbell]

There are a lot more problems with the orchestration than that. Just for starters, try to figure out for example why that A#-B trill is unplayable on a standard tenor trombone, and why your harp part would be better notated in Gb than F#.

I'm assuming any trill would be impossible to play on a trombone...?

I'm also curious about the answer to the last point.

[(poco) Sforzando]

I'm assuming any trill would be impossible to play on a trombone...?

Not necessarily. But there's an especial problem with that A#-B oscillation.

[karlhenning]

Not necessarily. But there's an especial problem with that A#-B oscillation.

Yes; some trills even the F attachment cannot facilitate.

There's no substitute for knowledge of the instruments for which you are writing.

[Saul]

Not necessarily. But there's an especial problem with that A#-B oscillation.

Care to explain the problem, please?

[(poco) Sforzando]

Care to explain the problem, please?

No. I want you to find out on your own. Then we can look at another dozen or so problems in your scoring.

[greg]

No, he doesn't, Greg, and you should know better than that. Unfortunately by making such a statement, you are simply giving Saul license to return to his barely disturbed, self-absorbed complacency.

Of course, I was just kidding.

[karlhenning]

Of course, I was just kidding.

LOL

[Saul]

No. I want you to find out on your own. Then we can look at another dozen or so problems in your scoring.

I wonder how many musicians here would find the 'another dozen or so problems' in the score...
If you want to dig for problems , you would find hundreds of them...not only with regards to my own music, but other composers as well.