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  1. 2 likes
    I meant no harm at all and to be honest I never really thought about it. I added an "NA" field to those of you who don't wish to leave a gender.
  2. 2 likes
    A collection of small pieces I recently finished. Each piece has a very different flavor—the first concern is always strong identity. Playback's largely unmodded Finale, so do check the score if you hear something especially goofy happening. If you do, thank you very much for listening!
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    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.
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    It's like a mixture of classic style and somt ragtime thing in the middle. Catchy but I miss some dynamics and articulation.
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    OK, so you've got three issues here: 1. A pulse of 60 bpm is already slow for amateur musicians. They tend to gravitate towards a tempo of about 90 bpm. 2. The entirety of their musical educations will have put the pulse on a quarter or a half note in simple meter. Eighths and 16ths are psychologically subdivisions of the pulse for musicians at the high school level. 3. The meter of 4/4 strongly indicates a quarter note pulse. The conductor is already going to be working hard to keep the tempo where you want it without having to fight the tempo implied in the notation. This piece will read so much easier for the chorus is you double your note values so that the pulse is on the quarter.
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    Actually I think the octaves at some point were exagerated, but good rhythm construction. I dont feel the melody travelling as much I think it should be but some chord progressions were very good, specially that part when the octaves stop. Good job and continue composing!
  7. 1 like
    This is my "Three Transformations of an Original Theme for Solo Violin, Op. 292". It is my second set of transformations for solo violin, as well as my second set of transformations ever. Quoting myself from the description of my initial set of transformations, the "Five Transformations of an Original Theme for Solo Violin, Op. 260": "Whereas in variations you have always to variate from the main theme, in transformations, you transform from the initial theme 'a' into 'b', and then from 'b' into 'c'. You are, in other words, freer." This time around, I considered the theme to be the first transformation simply because, unlike the case of a theme and variations, the theme of a series of transformations is neither more nor less important than any of its transformations. In fact, either of the three transformations in the current piece can be considered to be the theme, not necessarily the first one. We can therefore say that the major difference between a set of variations and a set of transformations is that the latter is not theme-centric while the former is. Making an analogy with atonality in which there is no tonal center, we might say that in transformations there is no thematic center, There is merely a relationship between individual transformations, between different embodiments/treatments/expressions of related musical themes. In my compositional output, I can say that I see the transformation as occupying a middle ground between the sententia and the soliloquy. Each transformation is longer and more developed than a sententia but less so than a soliloquy. Another way to think of transformations would be as "variations on no theme", or "variations of a composition" or "Variations of composition/composing". Here is the link to my first set of transformations: http://www.youngcomposers.com/archive/music/listen/7998/five-transformations-of-an-original-theme-for-solo-violin-op-260/
  8. 1 like
    Music publishers did, over the course of the last 400 years. It's whatever, you are absolutely right. Ever since the advent of modernism most traditional conventions are open to being retooled, appropriated, and even rejected. I do believe cataloging your work is important, I do as well. However I don't refer to it as opus numbers, because it does seem misleading. It is important to note that traditionally a single opus number could denote a collection of works, not each individually. If a set of pieces was published together it may have a single opus number for the whole set, and then each piece would have a subnumber associated with it. This is generally why a lot of prolific composers didn't have really high opus numbers comparable to their output; most works wouldn't be published at all, especially shorter ones. When shorter ones were published, it tended to be in collections that would all carry a single opus number. My cataloging doesn't fit anything resembling that, so instead of labeling something as Opus # such and such, I simply place the number after the title. For example a title might look something like "Beautiful Love Song (#235)" When I was a kid, I would assign a catalogue number to each individual movement, and then another one to the piece as a whole. This is probably not how I would do it today, but I don't want to break my own conventions at this point, and I don't want to renumber the whole catalogue.
  9. 1 like
    This composition is my third (and up to date, still the last) of "Jeuxes" I composed for wind instruments (1st for flute and piano, 2nd for clarinet and piano). When composing this one I finally "discovered" bassoon as an exciting instrument. The use of accordion instead of piano is because of the commission and I believe this combination sounds perfectly. The piece demonstates my preoccupation with contrasts between simplicity and complexitiy, tonality vs atonality, consonance vs dissonance. Therefore this Jeux is significantly different than its predacessors. Although the piece was completed back in 2008 and received premiere perfomances in 2009 I did not have a proper recording to post here until I discovered the radio broadcast of this piece in autumn 2016, performed by ultra-talented bassonist Janez Pincolic with equally skilled accordeonist Nejc Grm. :)
  10. 1 like
    I agree with M about the arc. This work is reminiscent of Michael Nyman's score for The Piano, which itself was static in the long haul. But he wasn't encumbered by the bass line you chose. I think you could keep almost everything here as is, but change up the bass line and simply reduce the number of repetitive octaves and replace them with anything but. A minor 9th, here and there perhaps. But in general I like it.
  11. 1 like
    YC Competition: Winter 2017 “…tell me a story…” Hello all, and welcome to the next YC competition! What better way to start off the new year than with some healthy competition? I’m looking forward to great new works from all of you and hopefully, more of you, too! To celebrate the new year, I thought we should all write some stories! We’re going to be writing very programmatic music for this season and I can’t wait to be taken on so many journeys! I’ve kept the theme very general this time so we can see all sorts of takes on so many different life experiences, biographies, fables, adventures, and more! More than anything, this should be a pretty calm and fun competition amongst a community. Eligibility to compete will remain the same: ELIGIBILITY: *You must be a member of the Young Composers forum in order to enter. Sign ups will be in the comments below. *There will again be no limits to instrumentation. *The minimum length for this competition will be the same as last time: 6 minutes. The maximum will also stay the same at 20 minutes. *You must have some sort of audio rendition accompanying your work, otherwise your entry will be disqualified. *If you volunteer to be a judge, you may not enter as a contest participant. *Entrants should have an intermediate understanding of engraving and orchestration… this is another major focus of the competition. The rules, however, are not: RULES AND SCORING: Submit a score that represents a story of your choosing. This can be about your own life, someone else's life, a well known story, or anything in between. It simply needs an arc, as does your music. This can be loosely interpreted; one can have many movements with a portion of the story in each, or one long movement or overture that tells the whole thing. You will be judged on orchestration (/25), the ability to tell the composer’s intent through clear programmatic writing (/30), and the clear development of thematic material (/25). Score quality is also taken into account (/15). Submit a written version of the story with words. This is not optional. This written piece should explain each portion of the music and what is intended on being told. This needn’t be so incredibly detailed, but should offer unique insight on the composer’s vision. Even well-known stories require explanation (/10). Submit an audio recording of your work for the judges to follow the score with. You’ll be graded on audio quality (/10). TOTAL: /115 DATES: Entry Intent: March 10th Entry Deadline: March 15th Judge’s Scores: March 19th Results: March 20th Signal your intent to have an entry ready by leaving a comment to this thread. Good luck to all; I look forward to reading and hearing your stories! JUDGES: 1. danishali903 2. Monarcheon ENTRANTS: 1. Noah Brode 2. Austenite 3. Seni-G 4. Ken320 5. Jotaa45 6. RefinedRedneck 7. Connor_Helms 8. Adrian Quince
  12. 1 like
    Thanks for your customary detailed review and constructive criticism Monarcheon. Thanks Maarten for your review and opinion. Thanks Martim for your review and opinion (which I just saw) also. As for the issue about the usage of opus numbers, I think the following page should throw some light on the matter: http://classiccat.net/dictionary/opus_numbers.php I think the key phrase is the following: "Since approximately 1900, composers tended to assign an opus number to a composition, published or not." By the way, I did not assign opus numbers to my pieces until they reached Op. 189. That was the first piece, back in January 2014, that I assigned an opus number to. However, obviously, I could not start from Op. 1, since as you can see, I had already composed 188 pieces before it (not including the pieces that I had composed earlier using a less sophisticated notation program, or even earlier, using paper and pen). Moreover, I had numbered those 188 pieces in a separate file on my computer. So it was not difficult to start using opus numbers continuing from the number of pieces I had in that file of numbered pieces. Till then, I had refrained from using opus numbers perhaps out of a false modesty, thinking that it would appear like "boasting". But the advice of my cousin who has a "DMA" degree (Doctor of Musical Arts) in "Keyboard Studies" completely changed my perspective about the matter. Essentially, what she said was that it would give the listener an idea where an individual piece stands in my output. Now I don't regret starting using opus numbers and advise every composer to do so. It is a great way to organize one's compositions. The number 292 admittedly might seem inordinately high and maybe unintentionally "boastful", but as Sojar rightly mentioned, most of my compositions are short and written for solo instruments or chamber ensembles. So that fact might serve as a qualification of that relatively high number. Maybe I should from now on put an asterisk next to the opus number and provide that explanation in order not to unintentionally mislead my audience. Opaqueambiguity's initial question might seem to reinforce that idea. But then again, who determined how long compositions should be before they can be considered opuses? I don't think anyone did.
  13. 1 like
    I will return as a judge for this competition. I hope we can get some more people signing up to compete! I know the deadline is soon, but a huge orchestral work definitely isn't necessary!
  14. 1 like
    That can be so, but I think Opus numbers give more structure and clarity. About the music: Well done! Interesting lines.
  15. 1 like
    Klangfarbenmelodie was an interesting point you use a lot instead of "typical development". It's a very Debussy-type move and I think it paid off here. I think I like this one better because it travels somewhere. A clear "tonal" (more neotonal with timbral differences) beginning that devolves into something a lot more majestic and free. The section of rhythm and lowered volume and texture kind of distracted me a bit, but I can see what you were trying to do. Cheers!
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    What? Singular they is common usage. It has precedent and is widely accepted.
  18. 1 like
    Right off the bat, you clash a D# with E. I get what you're doing, but maybe make it a little less obvious. 0:37, important that the suspension of the piano happens relatively quickly, since the envelope of the piano sound is so percussive. At the transition to 16th's, the sparse texture of the right hand to the left is a bit strange... supplement it with 8th's maybe. Up to you. 1:20, clashing E with E#. Same around 2:40 and 3:49 and 5:00 Around 4:25, the B in the soprano with A#'s as a neighboring tone is a bit harsh, especially with the B also in the bass. I want a climax! Rising/falling actions. It's a lot of repeating, with not many chord progression changes. Like, it's definitely pretty, but so retrained. I know this can go more places. :) test it out, maybe. Cheers!
  19. 1 like
    Very coherent. I think you're really improving on that front! T1: I might bracket the sixteenth notes together with a rest in between them. It's easier to read that way. Having the fermata on the 16th note is awkward, and difficult to interpret. T2: Nice! T3: mm. 26-27, bowings will be awkward. I'd suggest adding a slur somewhere in those 16ths. mm. 31-33 is a bit too "break in the action" for me with such a short movement. Overall, I'd have liked to see a bit more development, since they all sound so similar, but it's a pretty good set.
  20. 1 like
    I'm pretty sure "they" is the pronoun we use for that, rather than "it".
  21. 1 like
    In the future I can refer to you as an "it" if that would be more accommodating to your issues.
  22. 1 like
    It was foggy outside so I composed this.
  23. 1 like
    What Ken said. Also, I would really appreciate if the score was laid out a little more cleanly, all dynamics below the staff, no dynamics in crescendo marks etc. Also consider slurs and phrase markings. These are essential in writing for winds, in my opinion. I find the easiest way to approach slur markings is to sing the melody to yourself and figure out where tongueing is most natural. I don't know if you are experienced with wind instruments, but this comes much more easily if you are.
  24. 1 like
    Taking you at your word that you have never composed before, I would say that it's pretty good. It has some interesting parts and some not so interesting. You make good use of 1st and 2nd endings. However, sometimes 2nd endings seem wasted whereas repeating a section "with variations" can be more interesting. Bar 10 would be better written as (see pic). But the biggest problem I see are the repeated notes. These make the music sound static and would be very boring for a player, and listener. And not very idiomatic for an oboe engaged in a duet. The parts should be of equal interest. I would suggest changing the repeated notes to chord outlines at least, or a proper counter melody.
  25. 1 like
    This is my first composition for Bass Clarinet. I appreciated the possibilities of the lower range that it affords. I hope that you enjoy it. I would be very interested to hear how it would sound played on an actual instrument.
  26. 1 like
    Thanks everyone for your reviews, feedback, and criticism! I am glad some of you have enjoyed the piece. I thank those of you who have provided constructive criticism and others for their candid opinions. Thanks Maarten. That is a very rewarding feedback to hear! No problem. I hope a bass clarinet performer will be found! P. S. By the way, I hope that you and your friend's rehearsals of my sententiae are going along well and that the day when you will record them is nearing!
  27. 1 like
    I dig the harmonic language, and the rhythmic drive is a huge win. I can tell it was tough finding ways to generate interplay between the two players; you seem to have found a couple effective solutions, but they could definitely be expanded upon. I don't know if that was meant to be the end or not, but I think it could be a pretty effective ending—have the guitars end that last note and then damp all the strings. Nice work!
  28. 1 like
    Thank you @Frank Angelo! My background is a mix of outdoor & the likes of Bartok and Steve Reich, so I dig some math :D
  29. 1 like
    Thank you, very much, bassoongirl123, for listen and comment.
  30. 1 like
    Okay, I know I've already posted, but I just got to the second movement, and it's beautiful! I do feel like the end of the second movement is a bit sudden. The third movement is well done, relating to the theme but not too similar. I feel like for such a triumphant beginning, the ending seems to be lacking emotion and excitement. I'm amazed by this piece and by how much thought and emotion you must have put into it. Well done!
  31. 1 like
    Hi Julien, Nicely done. Bringing the cascading 16th note effect into the restatement of the main theme at m. 29 is a great move that provides a wonderful sense of unity while adding interest. A few comments: 1. The pedal markings are adding a lot of visual noise to the page. You might consider using the modern "schematic" notation with the horizontal line instead. 2. When you're considering where and when to use your dynamics, think about the structure of the piece. Use the dynamics to highlight the structural elements that interest you. 3. The transitional material in mm. 14-17 is doesn't fit the rest of the piece. You've got two ideas that dash past in four measures like the Odd Couple on a Vespa scooter. Neither the dotted 8th/16th fanfare nor the "toy piano" music grows organically from the material surround the transitional period. While I could readily accept m. 14-15 being a little fanfare to usher in a new section (without themselves being further developed), m. 16 beats 3 & 4 present a compelling idea. I honestly felt cheated when it left so quickly to make room for the syncopated material following. Too much interesting material is a great problem to have as a composer, but it is a problem nonetheless. The piece itself is very compact, in essentially an ABABA form. The two main ideas are provide great contrast to each other and plenty of developmental possibilities. The foreign transitional material crowds the piece and obscures an otherwise tight form. Replacing it with transitional material drawn from either of the main themes would make more sense. But don't toss it! There are always more pieces to write.
  32. 1 like
    Hi Maarten, I will definitely rework the score! Many thx for your feeback, very encouraging, Kind regards, Julien
  33. 1 like
    Hi Vahan, Very well done! I like your ''composition voice.'' It is very original and recognizable. I know I have already told you this, but adding more dynamics and articulation would improve the variation in the piece. From m.27 to the end the music sounds more interesting thanks to these elements. Unfortunately I cannot help you with performing it. I do not play Bass Clarinet. Kind regards, Maarten
  34. 1 like
    Hi Julien, I really love your composition! There are many places where I hear Chopin's and other romantic piano composers' influence on your writing. As @Luis Hernández already mentioned, add dynamics and articulations! Well done! Kind regards, Maarten
  35. 1 like
    Hi. Thanks for uploading the score, too. I love to see it while listening. I have no idea about writing for brass, but I think it must be quite difficult to do it for an ensemble like this one, where the instruments share the register. To me it sounds very nice and I don't care about the rules. I mean, we should know the rules, and then they can be broken. Why not? I don't understand... OK, the result can be bad, but not necsessarily. I had a teacher who told me (when I completed the courses on Harmony): "Now forget all the rules and write music". Greetings!
  36. 1 like
    Hi I have to say that, many times, I get bored with works written in strictly tonal language (it's a question of taste, nothing more). But other times I enjoy this kind of music very much. In fact I've been listening to it three times, just to tell you something I don't like or whatever. But I love it. The two main themes contrast very well and are beautiful. I think the piece is well organised. I never tell anything of things that, in my opinion, the composer has devised or determined. I only have two suggestions: the score would be great if you would have written dynamics and slurs (which, in fact, they are played). The other issue is that, perhaps, the piece would sound even better with some modulation in the middle, or just in the last part to brighten the end of the piece. Greetings!
  37. 1 like
    @Adrian Quince these are the basic rules I was taught and I will stick by them, mostly because breaking the rules means a lower grade :)
  38. 1 like
    I have to disagree with a couple of things here: Not really. This is well within the capability of a good tuba and euphonium players. Circus marches from the turn of the 20th Century have more demanding parts, especially for euphonium. See The Melody Shop, The Circus Bee, Entry of the Gladiators (when played at circus tempo), Barnum and Bailey's Favorite, etc. Crossed voices are nearly unavoidable in writing for low brass ensemble. The compass of the instruments involved is such that the bass clef will inevitably get crowded with more than a two voices. The physical nature of brass playing precludes keeping some voices above the staff for a protracted period to create more open spacing. Therefore, it's not a matter of if the composer crosses voices, but how well they do it. Most of the time, the voice crossings are pretty clean. They're either two different lines with distinct identities or a single active line moving through a static chord. That said, the voice crossing at m. 17, beat 3 does sound awkward to me with the B-natural and B-flat colliding. In fact, to my ear, the B-natural in that figure is a trouble maker all the way through m. 23, because it's either colliding directly with a B-flat or causing a cross relation with one. Even in the contemporary idiom, it was jumping out at me.
  39. 1 like
    I'm learning simple things as I've been going along, any suggestions, or is this too short to go off of? I'm really interested in music but haven't gotten a great place to learn, everything simple to complex is greatly appreciated.
  40. 1 like
    Interesting chords in the beginning... starting off with im7 and VIM7M9 was a bold choice, and I think it came out pretty well. The chord after THAT though, was harsh... IIIP11. The resolution note you put after it, the tonic A-flat, was not a correct resolution and doesn't have that same emotional impact I think you were going for. Simply having the melody line on the third would have been better. The impressionistic section after was incredibly interesting especially with the pedal D, which I commend you on not making it sound too out of place... just dissonant enough! The choral section following was phrased really strangely, and kind of brought out the worst of the original section. When the two were blended together then two chord you threw in used the 11th again which is awkward when paired with the major third. General rule for you. A lot of this piece continued in a similar matter. The slower section after, reusing the pedal D was again, dissonant, but in a really great way. Making use of the tritone chords or open fourth chords was an interesting choice to end the piece. Glad to hear an ending this time too! :)
  41. 1 like
    overall this is a pretty good piece. I like your use of trills and the staccatos at the end. However, in some places it seems kind of as if you were typing random notes into a notation editor. Maybe mix up the rhythm a little? Most pieces of music start with a pattern, and as the piece goes on they adjust and modify the main melody or theme. I sense very little pattern in this piece, except for the note values and articulations. Play around with the melody a little more and make some adjustments, and I think this could end up being a very nice piece.
  42. 1 like
    Non functional progressions and other stuff. Short, and yes: it has the structure I wanted.
  43. 1 like
    The range of the instrument is pretty good. So is the melodic and harmonic lines used, including the pedal tones used at the beginning of phrases. It's just way too simple, orchestration-wise. Expand the timbral and harmonic range of the instrument... there's a lot more that the clarinet can do and it seems very reserved here. Cheers!
  44. 1 like
    Charming! VII chord can be substituted for a V chord sometimes and it would give a different edge for the melodic high points, like when the melody runs up to a high D. The progression is generally okay since it's so bouncy, but having this repeat constantly would drive me insane, personally XD I think variating a little more would help. Even having one portion have one chord off can make it sound like two distinct parts which is all you need.
  45. 1 like
    I'm definitely an advocate for more Euphonium lit for orchestra, so I may be biased there. My instincts tell me including a Euphonium part as an optional alternate (while leaving the solo in the Tuba) wouldn't impact the potential reach of the piece all that much. In fact, it could increase the appeal to community orchestras who may not have a hot shot tubist available but could certainly poach a eupher out of the local concert band. About the tuba octaves, the topic has really only occurred to me recently. The conductor for the wind ensemble at the local community college hired a ringer tuba player for our last concert. Tremendous sound, rich in overtones, his tone was an amazing foundation for the band. I was playing Euphonium and didn't have to worry about tuning at all when he was playing. I realized that it was his overtones that I was locking on to. It's really changed the way I look at tuba for harmonic foundation.
  46. 1 like
    A Piece I wrote for band This piece is based upon the writings of the Book of Ruth in the Old Testament. This story of love starts off with Naomi saddened by the death of her husband, and then the sudden death of her sons. The lady Ruth stays by her mother-in-law‘s side as she goes to work. She then meets the handsome Boaz (measure 59) and they immediately fall in love. However, they cannot be wed because according to tradition, she must be married to the kinsman-redeemer (this is the next of kin.) Boaz makes an announcement (measure 97) in front of the council that the kinsman-redeemer shall receive the property of Emiloech (Ruth’s late husband.) He quickly accepts until he realizes that he must marry Ruth and hastily rejects. The estate of Emilech is then transferred to Boaz (measure 131) who in return claims Ruth as his wife (measure 157.) Why write about the Book of Ruth? This very small book in length seems unimportant; however, these two people are the ancestors of the great King David!
  47. 1 like
    Hi LostSamurai, I compose primarily for concert band. I usually sketch pieces in a short score format: High WW, Middle WW, Low WW, High Brass, Mid Brass, Low Brass, Timps and Percussion. This makes sketching for band a much more manageable endeavor and would probably be a good starting point for you if you're comfortable writing for a few instruments.
  48. 1 like
    Cool! Super mature and well prepared, love your style. Gustav Johnson
  49. 1 like
    This is outstanding!, I have only one "negative" comment: I want more of it!
  50. 1 like
    My take is slightly different, Dimitreje. Consider me good cop as opposed to Monarcheon's bad cop. Yes, the style and music is all over the place. So what? It doesn't conform to strict formalities. So what? Neither did mine when I started out. It still doesn't! What I hear from you is a composer who is working things out little by little. I think that it's great that you even wrote this down, which is more than I ever did. People are always going to tell you things like, this is not minimalism. This is not a sonata. You will make it what you make it when you make it.