Uhor's desk

Started by Uhor, March 09, 2018, 06:09:19 PM

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Mahlerian

It's much fuller than last time. I think you need a major contrast of some kind at this point, harmonic and textural.
"l do not consider my music as atonal, but rather as non-tonal. I feel the unity of all keys. Atonal music by modern composers admits of no key at all, no feeling of any definite center." - Arnold Schoenberg

Uhor

Thanks for listening, much appreciated advice though I may move on to another piece under different constraints like I usually do. Finding my voice and whatnot.

Uhor

I started yet another string quartet in a new rather dissonant style, might be only computer playable. Tell me what you think.

https://soundcloud.com/richannes-wrahms/broken-glass

Uhor

#43
These are the counterpoint rules.

Melodically everything is allowed except the octave, the tritone and the outlining of triads.

Vertically:

A voice may enter on a soft dissonance.

No octave doubling is allowed.

Direct (and parallel) fifths are prohibited.

Soft dissonances are approached in contrary or oblique motion.

Hard dissonances only by oblique motion. (No parallel dissonances of the same type.)

No resolution required.

Uhor

I've been hard at work with this, I think it is my best so far. I'd gladly recieve (more) criticisms so I can continue expanding it.

https://soundcloud.com/richannes-wrahms/concerto-for-6-musicians

Uhor

So I've expanded it and written some more parts over it. As always, commentaries would be excelent.

https://soundcloud.com/richannes-wrahms/chamber-concerto

Uhor

I've been working on this for a while now. It's a flute, english horn, bass clarinet, cello and double bass quintet. Pending revision/expansion.

https://soundcloud.com/richannes-wrahms/quintet

Uhor


Uhor


Mahlerian

Quote from: Uhor on May 13, 2020, 12:01:06 PM
The first quintet now finished.

https://www.youtube.com/watch?v=kncyPcmOit4

I think the best part is the winding-down staccato/pizzicato section at the end. It maintains a clearer direction than the rest of the piece and has an interesting texture.
"l do not consider my music as atonal, but rather as non-tonal. I feel the unity of all keys. Atonal music by modern composers admits of no key at all, no feeling of any definite center." - Arnold Schoenberg

Uhor

Spoken like a true Webernite; that bit came out better than expected "like a hide and seek game" said my father. I quite like the flute above low clarinet, cello and bass section.


Uhor

A little piece for clarinet, unusually motivic for me.

https://youtu.be/Hhy9RKmlZwA


Uhor

Something in a similar vein to that last work. Faster and a bit more complex, very tonal/French sound. It's for Flute, Alto Flute and Horn:

https://soundcloud.app.goo.gl/SKf4

Uhor


Uhor

I started something that make take a while to complete if I do, so here is a preview:

Complexification

Scion7

wherever it is, your link is broken

it's better to list your noise in said format:

title ---> https://www.blather.net/epicnumberone.mp3 ...... or some such
When, a few months before his death, Rachmaninov lamented that he no longer had the "strength and fire" to compose, friends reminded him of the Symphonic Dances, so charged with fire and strength. "Yes," he admitted. "I don't know how that happened. That was probably my last flicker."

Crudblud

#58
Quote from: Uhor on November 29, 2020, 05:43:04 PM
Complexification
Fixed that there link.

Edit: I must admit this music doesn't make much sense to me, but perhaps it will in the full version, since this is the "beginning".

Uhor

Than you.

The idea behind the piece is to grow increasingly rhythmically complex as it goes on. The next section is a more space one that grows dense into the most complex part and then "relaxes" into an adagio which while still more rhythmically varied, will be slow enough to be "understood".