Uhor's new desk

Started by Uhor, December 22, 2021, 04:26:00 PM

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Uhor

I changed my compositional ideas and so I start a new thread with this preliminary version of a piece for Piano 4 Hands:

https://youtu.be/w9GJRXByCq4

(Please ignore the notational inconveniences.)

krummholz

Quote from: Uhor on December 22, 2021, 04:26:00 PM
I changed my compositional ideas and so I start a new thread with this preliminary version of a piece for Piano 4 Hands:

https://youtu.be/w9GJRXByCq4

(Please ignore the notational inconveniences.)

Oooh.... REALLY like this. Love the cross-rhythms in the outer sections and the very spare textures midway. The dynamic contrasts really work for me. How was this realised? Notation software? DAW? (I assume not actual players, but maybe...)

Uhor

Thank you! It was made in Sibelius + Noteperformer.

krummholz

Quote from: Uhor on December 27, 2021, 06:01:46 AM
Thank you! It was made in Sibelius + Noteperformer.

Exactly what I use... though I've not yet used it to write anything for piano. Good to know that such realistic-sounding playback is possible with it!

Uhor


Uhor

Same thing but (rather unreadable) score video:

https://youtu.be/kQSy6cYdlJc

Uhor

For small orchestra, this came out

Modes of Accord: https://soundcloud.com/richannes-wrahms/modes-of-accord-preliminary-version

It flows and modulates mostly between the tone centers A, C, F, G and D.

krummholz

Quote from: Uhor on May 15, 2022, 07:50:25 PM
For small orchestra, this came out

Modes of Accord: https://soundcloud.com/richannes-wrahms/modes-of-accord-preliminary-version

It flows and modulates mostly between the tone centers A, C, F, G and D.

I like it! It gradually develops into a livelier and livelier contrapuntal tapestry, in places very Bach-like. The ending was very much not what I was expecting though, seemingly very unresolved. Was that intentional?

Uhor

Quote from: krummholz on May 22, 2022, 08:54:02 AM
I like it! It gradually develops into a livelier and livelier contrapuntal tapestry, in places very Bach-like. The ending was very much not what I was expecting though, seemingly very unresolved. Was that intentional?

Your joy is welcome.

I accepted some chords in the vocabulary that would classically need resulting because of the tritone in them or have (not very conflicting) extensions, I mostly did avoid unprepared semitones or equivalent.

My intention was to end playfully in a major mode of A (think I ended up choosing the acoustic scale) since the piece begins in A Aeolian.

Uhor

A little experimenting this time.


Ritual prayer (for large orchestra): https://soundcloud.com/richannes-wrahms/ritual-prayer

Uhor

I may end up adding more counterpoint to this later, but for now:

Night, Day, Eve (for orchestra): https://soundcloud.com/richannes-wrahms/night-day-eve

Uhor

Some crackhead stuff which is probably not playable anyways.


Mixed Septet: https://youtu.be/-h0roOay8hU

Uhor

So I wrote the complete first draft of a sonata-form-like movement for Chamber Orchestra

Symphony in Gold and Silver

Exposition:
A is polychords from F, C and G Lydian.
B is dobled melodies from polychords of G, Bb and Db Dorian.
C is textures from polychords of B, C and C# Locrian.

Development:
1. a few A tutti chords to close the exposition and open the development
2. A+B juxtaposed
3. A+C juxtaposed
4. A+B+C tensely juxtaposed
5. A+B+C integrated resolutely in a "collective agreement" mode based on E Lydian, ending in a little cello solo epilogue.

Recapitulation order: C-B-A

Uhor

Polyphonic version for Large Orchestra

 

Uhor

Another one I'm proud of: