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  1. Board

    1. Announcements and Technical Problems

      Check here for the latest news, report technical problems with the board, or submit your suggestions

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  2. Upload Your Compositions for Analysis or Feedback

    1. Orchestral and Large Ensemble

      Upload compositions which use an orchestra or a large ensemble (defined as one requiring a conductor)

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    2. Chamber Music

      Upload compositions written for a small group of instruments (including works with piano), or for solo instruments (other than works for solo keyboard)

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    3. Choral, Vocal

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    4. Piano Music, Solo Keyboard

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    5. Incidental Music and Soundtracks

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    6. Jazz, Band, Pop, Rock

      Upload Jazz, Band or Pop/Rock compositions

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    7. Electronic

      Upload music which makes use of electronic resources

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    8. Incomplete Works; Writer's Block and Suggestions

      Works here must be attached using the forum's attachment method. Incomplete works will not be categorized in the network.

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  3. Competitions and Collaboration

    1. Competitions and Challenges

      Please use this forum to submit all your competitions and challenges.

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    2. Competitions

      The place for all non-monthly competitions!

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  4. Technological

    1. Finale and Sibelius Help Desk

      Post questions about Finale or Sibelius here

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    2. Software and Hardware

      Discuss notation software, sequencers, wave editors and other software packages, or ask for advice about keyboards, sound modules, General MIDI, sound cards and other music hardware

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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

  • Posts

    • 100% yes, everything I've written has benefitted from my experience as an instrumentalist. Trombone less-so than piano, but I find writing music at an instrument to be considerably quicker, more intuitive, and more organic than anything I could produce without it. Hearing physically how tones will react to each other is valuable, regardless of the eventual orchestration. As a brass player, having an understanding of how instruments work: harmonic series, air, breathing, dynamic control, flexibility and physical limitations is helpful when it comes to orchestration.   
    • I appreciate it! Yes, it is, but I still prefer it over Finale or Sibelius sounds, haha.
    • Quick, and really nice! I was a little confused when just listening to the third study, as the 5/8+3/8 rhythm sounded like 4/4 to me, but other than that, these are cool!
    • Hi, One of my goals here is to show we have lots of compositional resources at hand. Of course, many of you know it, and use them. Sometimes I write very short pieces to "test" the effect of one or other harmonic combination. Later on, if I like the results, I take it for composing something more expressive. In this case, I try to mix the eclesiastic modes (dorian, lydian, eolian, etc...). When we use two modes at a time = bimodality When we use two tonal centers at a time = bitonality When we use two modes and two tonal centers at a time = bimodality + bitonality, which is what I did here. The piano is perfect for this purpose: one hand one mode in a tonal center, the other hand in different ones. Of course, every combination is different. I wouldn't say there are better ones, worse ones. Unavoidably, there are clashes here and there, but the task of a composer (even the amateur, like me) is to control them to create relax-tension. Please, these pieces are not intended to be "beatifullly expressive". They are meant to show the effect of the combination. I wrote them in a few minutes. Study I = D dorian + C lydian Study II = D locrian + G mixolydian Study III = G dorian + A eolian   I always encourage, particularly to amateur composers, to read about this stuff, to explore a little. The musical universe is endless, and it is there to expand our expressive possibilities.
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