"Piano Concerto in A minor-Movement 1"
My attempt at neo-classicism with the fruity loops studio orchestra. This is the first of 3 movements, the others I have yet to write. Although I used fruity loops for this, I did not loop any of it, nor did I have separate instrumental patterns, the instruments (all 7 of them!) are on three patterns, to separate the main sections: Exposition, Development and Recapitulation. It's in Sonata form. Also, this is the longest running fruity loops project for me, so far, 3 days (on and off).
So, hope you can bear this classical fiasco...

Cheers

WB

as a self-tought noodler i have no idea what your talking about so just wanna say i like the themes and loved that crazy piano, too bad it is só midi sounding, but even that has its charmes at times, so i fully enjoyed this 'classical non-fiasco' , great respect here for your writing skills!

Wow WB your most imperessive.This is great!

I love this. Superb arrangement. Would I be right in that your sound samples are basic, if you had better sound samples or a better keyboard, I think it would take to  another level. The only other thing that I found that there were quite a lot of quick staccato parts, it would be interesting perhaps to break it up occasionally with some long notes [its only an idea, it may sound better as it is]

Denis

Sounds very cool. It's impressive that you wrote it without any loops, as well as without separate instrument patterns. It's an awesome arrangement. Great job.

Hey, thanks for the comments.
Yeah, the samples aren't the best I could have used, but they cover the basis of what I'm aiming for.
Denis: The staccatos! I think some of the sounds dampen their sound too quickly, which adds to the effect of the short passages, but the aim of movement 2 is to create a slower and more smooth and peaceful track, so I hope I can satisfy there.

Cheers!

WB

and I listened to it all the way through twice... I use to hate classical because it took my childhood away... Now I find it comforting.. go figure.... great movement and phrasing there too WB.... I would love to hear you on an acoustic piano some time.. I bet you would suprise even yourself if you had time to really get into it.. I use to visit the big piano gallery in nashville... I would lock myself in the steinway room... I would go in their slowest part of the day.. so they let me lock myself in... they didn't take long to figure out I couldn't buy one.. but allowed it due to my love of the instrument... my adult affluences almost killed that love with their forced learning rather then inspired learning techniques..

you rock bro!!

Dan

thought i chanced upon some obscure ELP ....
not my bag but quality stuff all the same...

you would be a good candidate for  wave. symphony software or some software of  orchestral samples . this is real good .  I like the way you returned it to A theme .

FIASCO!
one bad cliche after another.
no development.
i would like to see the score.
is there a score?
can you read music?
back to the drawing board.

Let me see, I'm a student, and using this a a learning curve, and the development was there, in the middle, and the themes didn't remain exactly the same all the way through, so maybe that's why you missed the structure. If you expected a complete reconstruction of a classical sonata, well, I can't live up to it there, it's a but more modern and not absolutely set with the rules, although a little more than the 20th century composers. I dunno why you call it "cliche" it's just based around my knowledge of music. There isn't a score to this because it was written on Fruiuty Loops on my computer, so, I could get the notation from there, but it wouldn't be your standard musical score. In other words, yes, I wrote this out note for note. And of course I can read music, do you think I would have the classical knowledge to come up with this if I couldn't read music. I'm a classical pianist and guitarist, put together about 14 years, over half my age, and that's not including the 4 years spent sitting in a classroom studying theory and the history of music.

Ok, after that, and not including the sound samples, can you humor me with an example why I should ditch this?

Oh, also, I don't see why you took a negative tone like this, what's wrong with constructive criticism?

On a change of tone, thanks for your comments blueyes, jackfancy, and toastedgoat. Appreciate it.
Don't forget to vote! (No excuses now that it's up and running), which reminds me I should check out this months battle.
Should have movement 2 up in the next few days...

Cheers

WB

I am most impressed.....   Wow....

    This is serious work.... Mozart re-incarnate....

                 You are amazing.....

                      AWESOME...

                            JimK

First of all I want to apologise for being so blunt. I didn't mean to hurt anyone's feelings.
I didn't realize that this was an improvisation.
Secondly, I am going to apologise for the long-winded answer critique and explanation. I have often been reprimanded for my bluntness.
If you are writing a piano concerto it seems to me that you would want to know every aspect of the piece you are writing and how the interaction of the instruments change the interaction of the pitches.
I guess I'm just old school to think that a composer should know everything possible about the piece of music he composes. If you depend solely on writing what sounds good without having the ability to scrutinize each and every sound event you fall prey to composing only that which you have already experienced and nothing new; Hence "cliche".
You, as a student, must know that the challenge in analysis of another composer's work is not to give general names to general parts (major chord, scale, etc.) but to find that which makes the piece unique; what is it that makes one able to hear that piece and know it is not any other piece of music.
When I want to know about a piece of music I know that with each sound event, beginning with the first, a story unfolds; a story that fits together like a jigsaw puzzle in which each and every puzzle piece is an integral part of the bigger picture and as theuniques pieces are fitted together the picture becomes more obvious. However, unlike a jigsaw puzzle, this one is assembled in a very specific order so that with the addition of each piece the viewer's interest is held and the viewer's curiousity as to what comes next makes him stay and watch the "unfolding" or development.
You have some good general concepts but they seem disjointed. Almost as if they were pulled from other "puzzles" and attached.
The octave thing (first two sounds) and then filling it in is a good way to start a piece.
Filling in is done, in this piece the same way over and over again. I am not saying it is "wrong" - it is your piece - but it seems to me that, as the filling continues up past the original sound it could "morph" and in this way add interest to the "filling" and set up the introduction of the new idea (the held sound that is very different than the first and second held sounds).
OK. I think I'll stop here.
I hope you understand what I just put out; this is not easy to grasp after years of "traditional" theory and analysis. Remember that Bach didn't follow Walter Piston's rules to write a canon but did have an insight into what a canon was just as we are each told that certain things are music and we synthesize our own understanding of what music is.
OOPS! There I go again.
Keep going.
Keep re-working.
The more you compose the








Crazier you get.
lol
Bill A

Hey, thanks for clearing that up. I see what you mean now. When you point out that you think a composer should know everything about their piece, I know what you're talking about, having being scrutinizing scores for examinations for the last few years. And for that I am still learning. But I do understand when I layer the instruments in one at a time, I'm using it as a technique to build tension, but perhaps a little much so. As for piecing together the different sections with my previous knowledge, I did use simple chords and base certain sections around an arpeggio or vamping harmony. Also, the different sections are tied together using simple passing notes and basic modulations, but, as I am sure you will know, whether or not the music on the page is constructed from basic music knowledge or not, the way in which it is presented is all important, to create mood and emotion in the music, and that's what I think makes this work. However, I will take your comments on board and work them  in to the third movement (already pretty much got the second done).

So, thanks for that,
Baverbach, and Jim.

Cheers guys

WB

crazy awsome