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    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

      Upload compositions that extensively make use of one or more singers, whether in the form of a soloist or a chorus

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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

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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

  • Topics

  • Posts

    • Ave maris stella for mixed choir
      This was really lovely, Sojar.  I seem to see a lot of composers who either shy away from using cluster chords, especially in a cappella works, because they see them as too difficult, or they use them just for the sake of feeling contemporary, but without the notes making any logical sense.  Here, they add warmth and depth to the sound, but they belong there perfectly.  It's not surprising that the choir tuned them all beautifully, because the musical language just makes sense.  You've done a great job here.  Congratulations!
    • Two Etudes for Four Fingers
      What a great idea for a writing exercise!  I actually really enjoyed the octaves, which makes me wonder if it would be worth just changing instruments to make it playable?  You could ask one of our resident organists if they had recommendations for stop choices to arrange it for organ, or designate it as a four-hand two-fingers piece?  :D 
    • Soliloquy for Viola No. 5
      I agree with JairCrawfod and Austenite. Your ideas are amazing by themselves. And many times, when this miniatures come to mind, they are what they are, and trying to do something larger or different doesn't work. I also like the viola very much. Philip Glass (i adore him) wrote "A madrigal opera" for six singers, violin, and viola. Part III of the opera is a long soliloquy for viola solo. Perhaps you like it (or you know it):  
    • Soliloquy for Viola No. 5
      Seemingly your music has finally begun to find its audience. The main issue is, as usual, our itch to hear what can be done with any musical idea, rather than just the idea itself. Nevertheless, miniatures are (and have always been) as much of valid musical expressions as large symphonies. I must commend you for your steadiness and for sticking to your ideas, and also for picking such an underused instrument as the viola. Good job!
    • Emma Overture, Op. 31
      Mission accomplished! One of my highest hopes upon writing this work was exactly that - for the music to be able to stand for itself whilst conveying some sort of musical narrative. I'm delighted to see that, at least on your opinion, it was achieved. Thanks for you comment! Well, yes! In fact I was a bit surprised that no one had even mentioned it before. In the first draft I even had the coda going back to B major after the brief step up to C minor, just as Stravinsky's glorious ending - but then I decided (upon a suggestion by Tokkemon) to stay in C major and end it there, on account of B major being an exceptionally tough tonality for the brass section. The work, as a whole, shows influence from a variety of sources, but I couldn't pick a better fit for the ending than Firebird, which I listened several times before writing my own wrap-up. Thanks a lot for your comment!