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  3. Hi all, I received some interesting feedback on my Melody for piano ''Winter''. One of the comments was by @Gustav Johnson. He encouraged me to compose a suite based on the seasons (Dutch: Seizoenen). The Suite is called Piano Suite ''Seizoenen.'' The Winter is the first movement and can be found here: Lente (Spring) is the second movement. I tried to imitate typical Spring elements, such as whistling birds and animals that wake up from hibernation. Feedback would be very nice! Kind regards, Maarten
  4. Thanks for your comments! I will be posting the other two movements over the next month. @jrcramer I keep changing my mind about old pieces. A the moment I like this though, which is why I posted it. I would do things differently now. However, I wouldn't change anything in an old piece. I like to listen, share and analyse what I did in order to develop old ideas of mine in new pieces.
  5. First, if you have a teacher who wants a specific approach to spelling for academic purposes, go with that. You can always make your spellings easier for the player to read once you've worked with the teacher on getting the theory right. Second, regarding Finale, you always have to be super careful when working without measures because it's something Finale isn't designed to do. Invisible bar lines are just a hack. Finale is still "thinking" in measures behind the scenes, so all the things like accidentals are still measure-based. It just takes careful proofreading every time. Also, when using notation without barlines, make sure that the accidental that is supposed to apply to a particular note isn't ambiguous. For example, if you have an F# followed by another F# a little later, I would make sure that both have the sharp on them, even if in music with barlines the second F# would just be implied.
  6. There is a danger in listening too often to the same piece while it is in progress or immediately after it's completed. The closer we are to our music, the more inclined we are to like it simply because it's familiar. One of the things I've built into my own composition process is a waiting period after I complete the first draft of a piece to gain a measure of objectivity on it before beginning to edit. Regarding the ease of the harmonic transition between into m. 24, half diminished 7th chords are more dissonant than minor 7th chords. So, despite being the correct function for the spot, it will not make the transition sound any easier. Your progression immediately before also implies at least three different keys before landing the listener in D major. It's a very nicely written piece of harmonic deception, by the way. Now, to the more philosophical subjects... On the subject of recapitulations, development and recapitulation is different in concept from simple ABA form because development has consequences. In the simplest sonata form, the development features enough harmonic instability to solidify the tonic key such that both subjects are stated in the tonic key instead of in separate keys. The first movement of Eine Kleine Nachtmusik is a good example of this. The development does not go terribly far afield form the thematic material and the main subjects is restated nearly verbatim while the second subject is modified to work in the home key. In more complex sonata forms, the creative ideas from the development actually change the nature of the recapitulation. In another Mozart work, Symphony No. 40 in G minor, the development section is designed to fake the listener into thinking they're hearing the recapitulation. The entire development is about deception. So what does Mozart do when it's time for the actual recap? He brings the violins ahead of the lower strings, making the real recap look like yet another fake. It's really hip writing. The recap does its job of returning the listen "home" musically, but it carries forward the idea of the development. Beethoven, being more strongly driven by expressive desires over form, was more aggressive in bending recapitulations to fit the narrative context. In his 5th Symphony, the recap of the first movement is orchestrated very differently from its original appearance, carrying over elements from the development in the background. The orchestration is lighter and perhaps even more "tired". There is a reflective little soliloquy in the oboe at one point. These changes feel like a consequence of the development, which portrays a person weakening the face of fate. In the fourth movement, Beethoven wants the recap of the A theme to feel very much the same as it did the first time, like a bright, victorious fanfare bringing light to the darkness. So, not only does he recap it verbatim, he precedes it by quoting the last portion of the third movement so the fanfare has the same dark, foggy texture to contrast against. Structurally, it boils down to this: the bigger the difference between the subject and its development, the bigger the consequence that has to be dealt with in the recapitulation. Keep that in mind as you're studying classical works. On the question of making music for the listeners vs. you personally, it's a balancing act every composer has to grapple with. The challenge of communicating through music is finding the right metaphors and language to make ourselves understood to our desired audience. Sometimes, the thing that totally makes sense to us as composers doesn't work for an audience. The question then becomes whether you as the composer like that thing enough to stick to it or whether it makes sense look for another solution. It's a judgement call each and every time. When it comes to finding out what works and what doesn't, this forum is a great resource. Not only will folks tell you, but they're fellow composers and can tell you why. Finally, nothing says you have to go back and revise this piece. I believe it was Tom Petty who said that projects are never completed, only abandoned. We grow as composers by tackling new ideas and writing new pieces.
  7. Yes please thanks!
  8. @Monarcheon Thanks Monarcheon, I'll definitely study more and I see what you mean with the cymbals. Cymbals are actually confusing for me but your advice definitely gives me a head start on those. @Casper Belier Download it? Hmm...I can maybe send you a message?
  9. Is there a way to download this?
  10. Yesterday
  11. My, how you've grown since you first posted here. In this piece, you're delving headfirst into the very complex realm of counterpoint. You might want to look into how this is more effectively executed, along with orchestration tips involving timbre and partials, since it's a pretty big part of making all your different lines seem focused into one category, rather than having multiple lines for seemingly no reason. It got a bit tiresome having each transitional section be marked by a suspended cymbal roll. What this does, also, is limit the audience's feeling of there being a climax, since it tricks the brain into thinking it's always happening. You don't need an instrumental staple to keep a piece interesting. It's like any drug... don't overindulge or the highs become less potent. Having the melodic line end on the soft 5th of a chord needs to be worked in better, especially with such a harsh timbre at the bottom of the violin.
  12. Forgive me, but I'm not really sure what genre this is trying to be. The parts with illuminated chords were quite nice, but all of the contrapuntal or flowing stuff was riddled with atonalities or dissonances and I'm not sure if they were intended or not. I'm pretty sure it's not strictly baroque, since parallel fifths are pretty common, and the non harmonic tones don't line up (what makes them sound wrong, by the way, is how brief they are in a given instance, which you might want to look at regardless). Regardless of the stylistic differences, the thing I would look for is places with crossed voices, since it obscures the polyphony and Klangfarbenmelodie you have established in some places. Food for thought. Cheers!
  13. This is my first time posting on this site! Just looking for some feedback/suggestions on a few pieces. Unfortunately, all I have is a MIDI file for sound, so I suppose that will have to do. Thanks in advance for any comments! P.S. The midi recording has some strange mistakes in it. Most likely because of not wanting to double up on accidentals when different layers in each part share a note.
  14. Very nice indeed. I would just recommend breaking up the slurs so they don't extend over a measure, especially in cases where you have the eighth note figurations following by longer duration notes. Otherwise, this is a very playable work which would be a nice intermediate level piece for a student violinist and I mean that as a compliment since I actually think it is hard to write good pieces that are not too difficult to play. Just 2 cents from a former very mediocre violinist.
  15. Dear Monarch, Ken and Martim, Thanks for your comments. I really appreciate your comments since there is noone around me that can give such useful feedbacks. I think you're right about the arc. I'll keep working on this piece and consider your suggestions.
  16. Hey guys so I wanted to create something that was inspired by The Legend of Zelda. I love the use of the instruments in the Zelda theme and I attempted to create something on a similar but darker level.
  17. We invite composers of all ages from around the world to write a new piece exploring “Water” as a theme. Many composers, from Handel to Debussy to John Luther Adams, have become known for their exquisite musical depictions of water – now it’s your turn! Entry Deadline: 8 pm EDT Sun 4/2/17 Genre: Classical Orchestration – Any instruments: solo or chamber music in any combination Max Length: 4 minutes Theme: Water Required: MP3 + Full Score (no parts) and completed Profile First prize – Public Voting: $50 plus listing in the winners' box Second prize – Public Voting: $25 plus listing in the winners' box Third prize – Public Voting: Listing in the winners' box Staff Pick: $75 plus listing in the winner’s box BONUS – CONSIDERATION FOR PERFORMANCE: Reviewers will include professional performers, who may choose one of your pieces for performance. Please write pieces that real people can play on real instruments! You’re welcome to enter orchestral pieces, which will be eligible for public voting, but if you would like your piece to be considered for performance, only chamber groups of 5 instruments or less will be considered. Detailed instructions on entering are found at Good luck to everyone!
  18. Regarding the accidentals I think it's fixed now. Working without measures (in Finale) is something new for me, I'm still learning, so thanks again... But regarding the intervals I'm not sure... I understand what you say about the players, and it's something to have in mind. However this is an exercise on composition and what I am asked is to keep the interval relationships when transposing, etc... I'll work on it, too.
  19. Thanks, your comments are essential for me, I'll rework the notation right now...
  20. I have listen over and over again my own piece and I dont really find any problem with those measures 23 and the recap. I'm going to try to explain to you why (Im not fluent in english). Measure 23 can't be a dominant function chord because I dont want a "easy" transition to the 24+ measures. About the recap, my works are inspired on mozart/beethoven classicism where the recaps where oftenly used, not only because they wanted to express something in particular, but mostly to create a structure that allows the music to travel to another place. That's what I wanted to do. Its a way to make me able to create a structured short duration music, and to me it sounds ok. I know I have to make music according to the listeners, but if I dont like it in the first place, what's the point? I never had composing classes so your professional criticism is very important to me, I may not change this particular piece but now I will take more care doing recaps and transitions. Best regards!
  21. Hi Sojar, I finally had a chance to listen to this. It's great to hear the rhythmic energy from your instrumental writing make it into your choral music.
  22. Hi Luis, The only commentary I have for you is notation-related. The writing itself really worked for me. You may want to run Finale's Cautionary Accidental plugin on this (but turn off parenthesize courtesy accidentals). You're missing at least one natural after your invisible bar lines. Check Violin at the top system of p. 2, the D-flat to D-natural. There may be others. Also, a couple of spellings strike me as odd. G-flat to A-natural in Violin middle of p. 2. F-flat to G-sharp(?) to E-natural in Violin on p. 3. With strings, my general rule is try to make the intervals look as obvious as possible. If possible, spell a half step as a m2 instead of a +1. Similar, three half steps should be spelled as a m3 not a +2, and two half steps as a M2 not a -3. The reason is that, when reading, string players rely on the interval to judge how far to move up or down the string. (That said, all this goes out the window if the piece is intended to be played using Just Intonation or similar. In that case, an explanatory note might be warranted.)
  23. A few points: 1. Your listeners will always hear your music differently than you do. They do not know what you were thinking when you wrote a particular passage, nor exactly how the concept in the title relates to the sounds in the piece. They also have different life experiences that cause them to perceive things differently. Things that don't bother you will bother them (and vice versa). 2. I misspoke when I included m. 35 as a problem measure. It's mm. 31-34 that are problematic to me as a verbatim repeat of the main theme. Measure 35 sounds like the natural next step after m. 30. 3. Nothing should be done in a piece with a purely technical motivation. Nothing. As composers, we deploy our technical skills to help solve creative problems, communicate with the listener, and express our artistic intent. 4. Following on #3, a composer must know why every note is in a piece. Each note should align with their creative intent. In the case of a recap, a composer should know why the main subject is being repeated and modify the recap accordingly. What should the listener feel when they hear this? How does the recap relate to the journey of the development? How does it set up the coda? 5. In looking in more detail, part of the reason the recap isn't sitting well is also that it is interrupting a sequence of the same material (m. 30 and mm. 35-36). The developmental material in this so sequence-oriented that it is jarring not to get one on the material in m. 30. 6. Regarding the harmonic difficulty going from m. 23 to m. 24, the problem note in the chord is the G#. The progression from m. 22 to m. 24 Bb7 Bdim | C7 C#mi7 | D. Since you're trying to get into the key of D (or at least tonicize D), the chord at the end of m. 23 needs to be some sort of dominant function chord in the key of D. Change the G# to a G and the progression becomes Bb7 Bdim | C7 C#halfdim7 | D. There is your dominant function chord. Also, the sequence of chord qualities is more logical, alternating dominant 7th and diminished chords in m. 22-23 to get to the D octave in 24.
  24. Last week
  25. I understand what you are saying, but I cant agree on you because of two aspects. First of all, it didn't bother me at all when I first listen it because it was really the way I wanted to sound. Secondly, the anxiety title does not refer entirely to the more animated middle section, but to the harmonic variations and extremelly anoying repetitions on different octaves like the final bars. That recap is just a musical technical I use to write my pieces with short duration, so It does not influentiates that much the anxiety theme.
  26. Hi Martim, Think about your narrative arc for a moment: The entire middle of the piece is a musical representation of anxiety, right? Well, in real life, once an anxiety attack has come and gone, you're not just instantly calm again. There's usually leftover nervous energy. The calm isn't complete, there's usually something still stirring under the surface. When it comes to a recap in a piece like this, where the contrast between the subject and its development is significant, there needs to be some sign that the journey the listener just went on matters.
  27. Yes, I was already familiar with this one! Amazing!
  28. You're right; I didn't think of that. What about two voices, a male and a female, to sing to each other. I imagine a change in color throughout the song.
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