Ivan, this is very beautiful. Please continue to compose. Your future self will thank you for pushing through any difficulties you have in your life now. They are temporary, they will one day be in the past. But your music will always be there.
This is really great Ivan. I really enjoyed it. I love writing for woodwinds too, and we are blessed by the excellent sound sets of MuseScore. Really lovely writing there Ivan. Can I ask, what ‘style’ would this be? I hear quite traditional principles voice leading, although the melodic expression is somewhat unique, I find. 🙂
Thank you, glad to hear it was your cup of tea haha. Hm, I would say it is a mixture between Strauss, Brahms, Schubert, Mozart and Mendelssohn. I don't have a fixed style so it is hard to tell.
I think it's beautiful! It would wonderful if you finished it. I admittedly don't know much about wind instruments, but it sounded nice to me, orchestration-wise.
I like it!! Maybe what you're hearing that you don't like though is that there isn't enough contrast between the moving lines/melody and the sustain? Could also be an instrumentation thing. You have bassoon in the bass ( which is a pretty baller instrument all around ) but it, like the other double reeds, has a very overtone rich low end, which might be masking other instruments at points. I might suggest swapping it out with bass clarinet (which is also a pretty baller instrument all around ).
I will think about it, it could be. Although the original combination of instruments is more common and I could find a group that performs the piece more easily.
Thank you. I am quite critical with other people's work too, but I try not to give harsh critics because I know how much they can damage one's confidence.
Two main reasons for that: The first one is that I struggle a lot to do homework on several creative subjects every week. I wasn't having a good time doing counterpoint, harmony, orchestration and composition exercises every week while trying to give my best. I usually work a lot for a few days or a couple of weeks and then I relax my mind for another period of time. I would describe it as burst of creativity that need a break to recharge. Also I prefer to train myself in "waves". With that I mean that if I get interested in counterpoint I get quite obsessed with it for a week or two and I make good progress on it, and after that maybe my interest switches to form and then I spend time on it. I can't focus on the same specific thing for too long and still have honest interest on it. The second reason is that I have a very free and daring spirit. So following all the advice that teachers give me isn't going to happen most of the time. Teachers have to make an extra effort with me and convince me about whatever opinion they have on my music. So that's problematic, I even don't close my mouth when I see any teacher make a mistake because I consider my colleagues should know the truth. I will never blindly follow anyone's opinion or orders, no matter who they are. I will always evaluate it and see if it makes sense, and how well it matches my own artistic goals and ideals. That doesn't mean I'm close-minded though, I try to be open about all sorts of things. But everything needs to convince me on an intellectual and emotional level, because I don't want to end up in "elite" avant-garde circles where the purpose of music is lost.
@@Ivan_1791 I've taken orchestration classes, but I'm curious about the composition subject. How does it work? Do you have to bring a composition of yours to the teacher, and then he provides a critical view of your piece? Isn't that kind of subjective, or does he base his critique on a 'tonal' point of view?
Beautiful ideas, love the dialogue between the instruments.
Glad to hear you find the roles of the instruments balanced.
Ivan, this is very beautiful. Please continue to compose. Your future self will thank you for pushing through any difficulties you have in your life now. They are temporary, they will one day be in the past. But your music will always be there.
Thank you very much. Good point, I will keep it in mind.
You are very talented Ivan! Keep going with this piece, we want to ear the final version 🤗
Thank you so much. Let's see how I can reformulate the piece.
Nice to ear, and very romantic 🥰
Thanks, I would say the style is between classical and Brahms/Strauss.
@@Ivan_1791 Pretty accurate
This is really great Ivan. I really enjoyed it. I love writing for woodwinds too, and we are blessed by the excellent sound sets of MuseScore.
Really lovely writing there Ivan. Can I ask, what ‘style’ would this be? I hear quite traditional principles voice leading, although the melodic expression is somewhat unique, I find. 🙂
Thank you, glad to hear it was your cup of tea haha.
Hm, I would say it is a mixture between Strauss, Brahms, Schubert, Mozart and Mendelssohn. I don't have a fixed style so it is hard to tell.
I can’t wait for the entire piece ! It’s wonderful, so harmonious, so nice ! ❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️
Thanks!
always amazing
Thank you so much!
I think it's beautiful! It would wonderful if you finished it. I admittedly don't know much about wind instruments, but it sounded nice to me, orchestration-wise.
Thank you. I think the accompaniments I use are too pianistic sometimes. We will see how I can correct it.
Sublime colors here Ivan. :)
I like it!! Maybe what you're hearing that you don't like though is that there isn't enough contrast between the moving lines/melody and the sustain? Could also be an instrumentation thing. You have bassoon in the bass ( which is a pretty baller instrument all around ) but it, like the other double reeds, has a very overtone rich low end, which might be masking other instruments at points. I might suggest swapping it out with bass clarinet (which is also a pretty baller instrument all around ).
I will think about it, it could be. Although the original combination of instruments is more common and I could find a group that performs the piece more easily.
This is so beautiful, Ivan 😍 I really enjoyed this but I guess we're always a lot more critical of our own work than we are of other peoples' haha
Thank you. I am quite critical with other people's work too, but I try not to give harsh critics because I know how much they can damage one's confidence.
Cool atmosphere
Why did you drop the composition degree?
Two main reasons for that:
The first one is that I struggle a lot to do homework on several creative subjects every week. I wasn't having a good time doing counterpoint, harmony, orchestration and composition exercises every week while trying to give my best.
I usually work a lot for a few days or a couple of weeks and then I relax my mind for another period of time. I would describe it as burst of creativity that need a break to recharge.
Also I prefer to train myself in "waves". With that I mean that if I get interested in counterpoint I get quite obsessed with it for a week or two and I make good progress on it, and after that maybe my interest switches to form and then I spend time on it. I can't focus on the same specific thing for too long and still have honest interest on it.
The second reason is that I have a very free and daring spirit. So following all the advice that teachers give me isn't going to happen most of the time. Teachers have to make an extra effort with me and convince me about whatever opinion they have on my music. So that's problematic, I even don't close my mouth when I see any teacher make a mistake because I consider my colleagues should know the truth.
I will never blindly follow anyone's opinion or orders, no matter who they are. I will always evaluate it and see if it makes sense, and how well it matches my own artistic goals and ideals.
That doesn't mean I'm close-minded though, I try to be open about all sorts of things. But everything needs to convince me on an intellectual and emotional level, because I don't want to end up in "elite" avant-garde circles where the purpose of music is lost.
@@Ivan_1791 I've taken orchestration classes, but I'm curious about the composition subject. How does it work? Do you have to bring a composition of yours to the teacher, and then he provides a critical view of your piece? Isn't that kind of subjective, or does he base his critique on a 'tonal' point of view?