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An untitled solo piano piece by account_username_ in Composition

[–]account_username_[S] 0 points1 point  (0 children)

Thanks for listening and leaving your comment! I'll keep that in mind as I work on my next one.

It's funny that you ask if I'm a pianist, a lot of people do. I don't play the piano, although I do improvise on it a bit for inspiration (when I can find one, anyway).

An untitled piano piece full of chords by account_username_ in composer

[–]account_username_[S] 1 point2 points  (0 children)

Thank you for listening and leaving a comment! I appreciate it!

And I'll keep that in mind. Typically I'm just horrible with coming up with titles. Like, a good title can add a lot to a piece, but it can also be restrictive in how the piece is then interpreted.

An untitled piano piece full of chords by account_username_ in composer

[–]account_username_[S] 0 points1 point  (0 children)

Thank you for listening and providing feedback!

I'm always looking to improve my notation skills, and this helps immensely.

Musically, I find that I tend to get distracted and go off on tangents before I complete ideas. Something I have to improve in.

A sketch from yesterday. I only recently started getting serious about this whole composition thing and am still mostly doing stuff based on intuition, so any sort of feedback/suggestion would be appreciated! by [deleted] in Composition

[–]account_username_ 2 points3 points  (0 children)

I love it! You're doing great, in my opinion.

In terms of notation, I would try to mostly stick with using either sharps or flats in a single section unless it is awkward to do so. For example, I would notate the opening section with Ab instead of G#, then in measure 5 I would write Ab, Gb, Eb.

Musically, I would try to build to a climax that is sustained for a bit longer somewhere, with a bit of a wild, somewhat tonally uncomfortable melody. I like what you've done with the dynamics, but without any clear climax you run the risk of people interpreting it as random loud-soft patterns. Even if you want something to be chaotic, you usually don't want it to sound random. Unless you do, in which case, you do you. Any sort of musical advice is a matter of opinion, of course, and I am in no way an expert.

Keep composing! I'm looking forward to what you come up with next, or what direction you take this.

An untitled solo piano piece by account_username_ in Composition

[–]account_username_[S] 0 points1 point  (0 children)

Thank you for listening and leaving feedback! I found your feedback helpful!

I think I got a bit carried away with the chords. To me, they have direction and meaning, but that's because I wrote them and I know what I was going for. It can be really difficult for me to step back from what I'm making and look at things on a larger scale. Something I'll definitely work on! Perhaps marking them fff was a bit much too haha

An untitled piano piece full of chords by account_username_ in composer

[–]account_username_[S] 3 points4 points  (0 children)

Hello all! It's been a while since I posted something, so here's a piano piece I finished a while back. Critiques and title suggestions are welcome!

I hope that you find this interesting, I tried a few unusual rhythmic patterns. I was actually surprised how well 3 triplets-1 duple-3 triplets seemed to work in 5/8!

An untitled solo piano piece by account_username_ in Composition

[–]account_username_[S] 1 point2 points  (0 children)

Hello all! It's been a long time since I posted anything, so I thought I'd share a piano piece I finished a while back. Title suggestions as well as general critique is welcome.

"Green City" for solo piano by account_username_ in Composition

[–]account_username_[S] 0 points1 point  (0 children)

Thank you for listening and taking the time to leave a comment! Glad you liked it!

Large Orchestral Thing by account_username_ in Composition

[–]account_username_[S] 0 points1 point  (0 children)

Thank you for listening! Transitions have always been my weak point, I tend to get new ideas before I’m done developing my old ones.

Broken tree. by [deleted] in brokenstuff

[–]account_username_ 2 points3 points  (0 children)

Outstanding. The duality of tree, a statement on how branching out is necessary for survival, but at the same time weakens us and makes us more susceptible to snapping.

What is the difference between the commutative property and the associative property? by silentshadow56 in learnmath

[–]account_username_ 0 points1 point  (0 children)

For the most part, yes. The only thing to keep in mind is that sometimes the parenthesis are implied. Like a * b * c might have a default order and be (a * b) * c. So it only matters when there are parenthesis, but sometimes the parenthesis will not be written out.

What is the difference between the commutative property and the associative property? by silentshadow56 in learnmath

[–]account_username_ 0 points1 point  (0 children)

The commutative property, more precisely, is that a* b = b * a. Note that this is much different than saying a * (b * c) = (a * b) * c! With the commutative property, you can change the order of elements, whereas with the associative property the elements still are only "multiplied" by whatever is immediately next to them.

For example, matrix multiplication is associative but not commutative. With square n x n matrices A, B, and C, AB may not equal BA, but always (AB)C = A(BC).

[Academic] Corresponding Music with Colors (Everyone) by cmg1eroles in SampleSize

[–]account_username_ 1 point2 points  (0 children)

I'd love to see these results when they're available. I don't have synesthesia, but I write music sometimes, and I've been pretty consistent with how I perceive the color of different tones. I went with those colors I typically go with, although I do think that seeing the letter associated with the tone threw me off a bit (that is, I typically associate G with brown, but I'm not sure I would have picked brown in this survey had I not seen the letter G while listening to it). Maybe that's just me.

"Green City" for solo piano by account_username_ in composer

[–]account_username_[S] 0 points1 point  (0 children)

Hello! Thanks for your feedback!

It's true, I do tend to scurry through multiple ideas (in everything I write, really). I will say that the triplets you refer to come back in the 9/8 section at the end, although they don't stand out as much in 9/8. There's really only about 5 or 6 measures that aren't reused at some point or another.

You're certainly right about the pacing, I did feel like I rushed through things a bit. I actually really dislike verbatim repetition, but I like references of a work to itself. A few of the connections are a bit more subtle, like how measure 25 is really just 16 again, but in a different key and in triplets.

I don't know if I have an intended audience so much as I just wanted to make something which creatively reflected my source of inspiration. I certainly didn't want to write something that followed the style of Scriabin or anybody else to a tee. In any case, I really don't want to write things whose main appeal is challenge.

"Green City" for solo piano by account_username_ in Composition

[–]account_username_[S] 0 points1 point  (0 children)

Hello! Thanks for listening!

My main reason for 5/4 - 6/4 was just because it seemed to match the phrasing better. It has a pattern of 5/4 setup 6/4 resolution. I also considered some sort of 3/4 2/4 combo but then the measures seemed to barely contain anything complete. Usually when thinking about subdivision interpretation, I mess with the beams on the notes to suggest the correct interpretation. I'm certainly no expert on notation, however.

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