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  2. Upload Your Compositions for Analysis or Feedback

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    2. Opt-In Works for Youtube   (3,042 visits to this link)

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    3. Orchestral and Large Ensemble

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    10. Incomplete Works; Writer's Block and Suggestions

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  3. Community

    1. Masterclasses

      Contains a selection of Masterclasses.

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    2. Music Appreciation: Suggest Works or Articles

      Suggest works and discuss past and/or present events, for the sake of Music Appreciation.  Link to YouTube videos, iTunes links, online articles and composers websites.

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    3. Composers' Headquarters

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    4. Repertoire

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    5. Performance

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    6. Advice and Techniques

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  4. Competitions and Collaboration

    1. Competition Hall of Fame

      A list of winning works of all of our competitions

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    2. Monthly Competitions

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  5. Technological

    1. Music Jotter

      Young Composers has developed a new music software, with a focus on speed, playback and ease of use.  This forum will be used for support, sales questions and bug submissions.

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    2. Music Notation Software Help and Discussion

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    3. Sound Libraries

      Discuss different sound libraries. This is also the place to talk about software samplers, such as EWQL, VSL, GPO, Kontakt and Gigastudio

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  • Works With Few Reviews

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  • Topics

  • Posts

    • Hello The truth is that, although I love most pop music, when it comes to writing music, I have always done so “note by note” with orchestral instruments. But I have often heard short piano pieces where a base sound or harmonic cushion is added. Sometimes excessively so. But anyway, I wanted to try something very simple and add (in some parts) a couple of basic notes of harmony. I liked the result.    
    • Hello  This music sounds fantastic. Of course, I haven't looked at what modulations there are or how many, but I do think the transitions between them are very well done, which is quite important. As for modulations, which is a fascinating subject, a couple of comments: - There are dozens of ways to modulate, some simpler, others less obvious (and more subtle). I also think that depending on the style you write in, some make more sense than others. - Especially in a work of this magnitude, but in general, I think modulations should follow, or be part of, an overall plan of tension and release. Because modulating for the sake of modulating doesn't make sense either. There are some pop songs whose goal in modulating is “always” to increase tension, which modulate “downward.” However, they achieve their goal. This is a technique I want to analyze a little better. Thanks for sharing, I really enjoyed it.
    • I agree. There are many ways to generate emotion, or to try to... I don't think that a sense of calm is incompatible with resources that focus on musicality and phrasing. This is very evident in vocal music, even in the great pop performers. A very simple and effective example from Beethoven: there is a first bar, which is isolated (by the quarter note rest), there is a second bar that is identical and works the same way. And then, the two simply appear without the pause.  Wow, a super-effective way to generate tension, dynamism, and phrasing without changing the basics.   Charles Ives' The Unanswered Question is a fantastic example. The harmony couldn't be more static, but the melody (more or less dense in texture depending on the moment) does not conform to the divisions of the harmony. In fact, the tempo of the harmonic part is fixed (Largo) and that of the other parts changes.    
    • Sorry for the technical title, I don't consider this music too technical, that's why I'm keeping it's original name in the file. However for the sake of sharing, this is more of an exercise.    Lately I've been upset about the lack of modulations in my music, and so I decided to go to the edge of what I can write, so I could get more comfortable writing in this harmonic style. I generally prefer diatonic music, but love key changes, and would like to improve on making strong moments when keys are changing. This piece is generally in a a very easily felt tone center but there are moments, like page 6, which the motif keep reappearing in different tonal centers, forcing the music to adjust with it. This isn't my best music, the orchestration is fine, and it's not really refined or complex, but this was an important step for me.
    • Hello!! Today I would like to share my first prelude 😄 Hope you like it.
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