now history ...
now history ...
yeah...it sounds a bit different to the one i know
but a great effort anyway
I've heard just about everything you've ever posted in forums, and your music always makes me feel that although they are given consideration mathematically and are unique in the unconventional approach, they convey not much else. I never catch any hint of emotion expressed--just dry exercises in harmony or orchestration that stretches on and on without any real development in melody or evolution in an emotional journey. I've read negative critiques from others about your music on these forums (some outright insulting you as a musician and stating your complete lack of talent), and you never seem to respond to them--be it to acknowledge their validity, or to disagree. You just keep on doing your own thing--which is an admirable thing, as you only need to please yourself, and as long as you enjoy and love making music, that's all that should matter. However, I'm slightly curious as to how it seems you are completely unaffected by what others say. Most people wouldn't be able to do that.
Whew, now there's a back-handed compliment.Originally Posted by Lunatique
For original progressive electronic rock influenced by J.S. Bach and (old) Rush, check out: www.soundclick.com/jeffreynaness.
moving on ...
this piece is very good! Unfortuntely many people seems to look only at the quality in which the sample libraries sound. Never spending a word for the quality of the composition. The harmony, the counterpoint etc...
Your music is top quality material made of. Your stuff is admirable!!
I really enjoy this one, and I think that if it will be performed by a real choir and not by a computer it will sounds magnificent!!!
Best to you,
Thank you, Beach, for encouragement!
Though, for me, this is an extremely emotional piece, there is also an element of experimentalism in it ala lunatk -- the modulations from G major to Ab minor result in a very large pitch shift -- 8 shifts flat, to be precise -- maybe ears that are enslaved to equal temperament simply hear things as mad-scientist-flat, rather than as an expressive device to heighten the form and to pull tears from sad eyes.
As a re-make, took out the pitch changes, so its all presently posted back into equal temperament.
I thoroughly enjoyed this, and i have to say, your sense of counterpoint and harmony, as has been noted, is excellent. There are one or two places where the vocal chord transition seemed a little abrupt, but i suspect this is more to do with sample start/ finish than anything else.
I also found a couple of sudden louder notes from the soprano (contralto?) that were a fraction disconcerting, but again, i suspect this a samplehandling issue and not a reflection of your musical ability (Which i always found to be good).
And if you ever decide to redo this with string orchestra instead of voice, please let me know, as i think for strings this would be excellent.
My respects and regards,
I think this is a very nice piece! As one who is perhaps not a total slave to equal-temperment or traditional 12-tone scales but certainly more of a traditionalist than you when it comes to interpreting pitch I won't get into those arguments. But I do like this, definitely, and I think you made a very good representation of it given the current state-of-the-art in sampled singing.
A very strong piece, in live performance this would make a strong impact.
It should be borne in mind, that it is a very bold thing to do to post an a capella choral work done with samples, as the library that can bear that sort of exposed work does not yet exist!