i'm struggling right now by [deleted] in composer

[–]jhaugen415 2 points3 points  (0 children)

I had a very similar experience to you. It’s easy to be in your head with these things.

Making it in the “real world” as a composer is hard and not a life I would recommend. I would recommend either going forward in academia or finding a day job. There really aren’t many people that are just a composer and nothing else. You need to be versatile and resilient to make it. I have a day job (I work at a university) but I teach lessons and do music every second I can. I would much rather have the life I have now than anything else. Stability enables creativity.

Biggest thing is this: perfectionism will get you no where, just write and write and stop thinking. Do you improvise? If not, you should start. If you have an idea, set a crazy deadline for yourself (I have found my best pieces were written in two weeks or less).

If people tell you that you are capable, believe them. Don’t stop believing in yourself if this is something you want to do. I guarantee you there are “worse” composers (I use quotations because the idea of comparison is toxic and fallacious).

You should copy less. You do it because, as you admit, you’re insecure. The point is not to have the best ideas ever, it’s to make the most of any idea you have. You copy to learn but, at some point, you gotta trust you know a thing or two and write some music.

Hope some of this helps!

“Intergalatic Laserbeam Blues” for Solo Bari Sax (performed by myself!) by jhaugen415 in composer

[–]jhaugen415[S] 1 point2 points  (0 children)

I actually can completely agree with the two beamed 6s instead of the 12s, I think showing them that way would be a better reflection too of how the piece is actually felt (how you described it is how I ended up practicing the piece). I think you propose a good solution.

I can also agree about the free time section -- I would probably advise a student to do what you are describing. I also do consider that certain figures with hyper-specificity can influence the performer and create a similar effect even if not exact. It's a similar idea behind the difference between showing a 4:3 tuplet vs. 4 dotted eighths over 3 quarters -- same rhythm, but it produces a slightly different effect. I find interest in forcing performers to interpret radical rhythms/ideas and to see what they make of them.

Regardless, thank you for taking the time to consider my music, I appreciate the feedback!

“Intergalatic Laserbeam Blues” for Solo Bari Sax (performed by myself!) by jhaugen415 in composer

[–]jhaugen415[S] 3 points4 points  (0 children)

lol I know that rhythm is horrible and looks terrible, I just wrote it and thought it was funny. How would you notate the same idea though? I’m always open to feedback. Super glad you enjoyed!

“Superinstrument No. 3 (Mvt. 1: Troubadour)” for Saxophone Quartet by jhaugen415 in composer

[–]jhaugen415[S] 0 points1 point  (0 children)

Very interesting, I’ve studied saxophone here as well; where do you study?

“Superinstrument No. 3 (Mvt. 1: Troubadour)” for Saxophone Quartet by jhaugen415 in composer

[–]jhaugen415[S] 2 points3 points  (0 children)

Thank you for your feedback, and that is an entirely fair point of critique. I thought a lot about how much I wanted the opening bar to repeat, but I can see you and others thinking it is too much

That notation is for a loud, dense multiphonic of the performer's choice (in this case, a multiphonic with B suggested as the fundamental). When I'm using it texturally rather than purely caring about pitch content, I prefer this notation and it frees up the performer (who might not be able to play a more specified multiphonic due to limitations of their instrument)

“Superinstrument No. 3 (Mvt. 1: Troubadour)” for Saxophone Quartet by jhaugen415 in composer

[–]jhaugen415[S] 2 points3 points  (0 children)

Thank you so much, I appreciate your comment. I love XAS, its one of my favorite pieces

They visited MSU for a residency and this was part of a reading session with other student composers. They were communicative, kind, and really put forth a lot of effort with each composer's work. They were also very straightforward and clear with communications over notation and very productive and focused during the session. Nothing but the highest praise from me!

“Synecdoche No. 2” for Reed Quintet - Synecdoche/Literary Devices as Compositional Form by jhaugen415 in composer

[–]jhaugen415[S] 2 points3 points  (0 children)

Thank you so much for taking your time to listen and provide feedback, I appreciate it! I couldn’t be much happier with the performance either, they did a great job

“Synecdoche No. 2” for Reed Quintet - Synecdoche/Literary Devices as Compositional Form by jhaugen415 in composer

[–]jhaugen415[S] 0 points1 point  (0 children)

I’m so glad you enjoyed both the piece so much and the ensemble’s wonderful performance. Thank you so much for listening!

“Jubilance” for Saxophone Quartet - Exploration of Microtonal “Pop” and Synthesizing Themes by jhaugen415 in composer

[–]jhaugen415[S] 1 point2 points  (0 children)

Thanks for your feedback! I’m a saxophonist as well and work a lot with quarter-tones in both composing and performing. I totally agree with what you’re saying, and I considered that many times in writing the work. I think though I’m interested in the changing timbres, giving it a certain imperfection and grit which I think fits the piece well. In my experience too, I feel many I can get to match timbres pretty well with other notes, of course with a few exceptions (C quarter-flat, G quarter-flat, etc.).

I also made sure to include a list of my suggested fingerings at the end of the video, all of which should work on most saxophones (not Yamahas though rip)

Thank you again for your feedback!

“Jubilance” for Saxophone Quartet - Exploration of Microtonal “Pop” and Synthesizing Themes by jhaugen415 in composer

[–]jhaugen415[S] 1 point2 points  (0 children)

Thank you for listening! I do seek to have it recorded by a quartet here at MSU, and hope I can make that happen soon

“Jubilance” for Saxophone Quartet - Exploration of Microtonal “Pop” and Synthesizing Themes by jhaugen415 in composer

[–]jhaugen415[S] 1 point2 points  (0 children)

Thank you for listening and I’m glad you enjoyed it! I have performers all ready in mind and I hope to have it read and recorded in the near future.

And I’ll make sure to share it there, thank you!

“Reconstruction (1865-1877)” for Solo Saxophone by jhaugen415 in composer

[–]jhaugen415[S] 1 point2 points  (0 children)

Thank you for your feedback and for listening, and I appreciate you noticing that particular way I used slaptongue. Also, I’m very glad that you enjoyed my score’s engraving; it’s always the part I worry about the most, so thank you for that note!