danishali903

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danishali903 last won the day on February 28

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About danishali903

  • Rank
    Advanced Composer

Profile Information

  • Gender
    Male
  • Location
    Troy, MI
  • Interests
    Music (duh), Movies (good ones), Books (the classics)
  • Favorite Composers
    Mahler, Bartok, Beethoven, Mozart, Tchaikovsky, Brahms, JS Bach, JC Bach, John Williams, Vaughn-Williams, Stravinsky, Rachmaninoff, Prokofiev, Rimsky-Korsakov, Ravel, Shostakovich, R. Strauss
  • My Compositional Styles
    Neo-romantic, neo-classical
  • Notation Software/Sequencers
    finale 2014.5 and GPO 4
  • Instruments Played
    Violin, Viola

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  1. To your first question: yep! I think that mostly would be for the string parts than anything else. But if you're gonna use the entire string section, I don't think you have to be THAT specific in terms of how many players in each section. As to your 2nd question, that is a little bit more subjective. I think the best example would be to look at all the orchestrations of Pictures at and Exhibition, and see (and hear) how each composer approaches each section and adds something new.
  2. Young Composer’s Spring 2017 Competition Spring is in the air! This competition is going to be a little different than most others, and will be a based on the following scenario: A regional chamber orchestra is commissioning composers to orchestrate three spring months, specifically March, April, and May, from Pytor Ilyich Tchaikovsky’s piano work, The Seasons Op. 37a. The orchestra has the following instrumentation available: 2 Flutes (both can double piccolo) 2 Oboes (2nd oboe can double English horn) 2 Clarinets (Bb, A, Eb, bass clarinet doublings allowed) 2 Bassoons (2nd Bassoon can double Contrabassoon) 3 French Horns 2 Trumpets 1 Trombone 3 Percussionists (including timpani) 1 Harpist 8 1st Violins 7 2nd Violins 5 Violas 4 Celli 2 Contrabass TOTAL of 44 players The orchestration of all the movements must feature at least 14 players from the orchestra. Entries that exceed the instrumentation listed above (44 players) will be disqualified. Please try to keep the instrumentation as consistent as possible for all three movements. To enter this competition you must meet the following requirements: Be a member of YC Signal your desire to enter by May 15th by commenting on this thread. At the time of submission, submit a score with proving that you meet the instrumentation requirements (NO EXCEPTIONS), and an audio mockup (MIDIs are acceptable). We also want members of this site to volunteer their time to judge. If you do volunteer, I ask that you have some working knowledge of orchestration. Entries will be scored on the following (these guidelines are somewhat general at the moment, but might be expanded upon later): Orchestration - How well does the entrant write for his chosen ensemble? Does the entrant exploit different colors through different instrumental combinations? Does he add any originality to the work? 35 PTS Instrumentation - How well does the entrant write for each specific instrument? 30 PTS Quality of Score 25 PTS Quality of Audio 10 PTS TOTAL 100 PTS Please observe the following deadlines: Signal to enter or volunteer to judge: May 15th, 2017 Entries must be submitted by June 4th, 11:59 PM EST I have attached a PDF of the three movements in question to this thread. Happy orchestrating, and good luck! DO NOT SUBMIT ENTRIES ON THIS THREAD Entrants: 1. Monarcheon Judges:
  3. Wow! Not much to say or critique here. The 2nd Viennese School influence can be heard, but your writing and the subtle colors you use sound very original. I'm also impressed by the playing of the Hugo Wolf Quartet! This is definitely not an easy piece to play, yet their intonation with those double stops is flawless, and how they bring out those complex rhythms is just stunning. Kudos to everyone!
  4. The audio player cut out on me half way through, but I got the general idea. You pretty much got the sonata form down, so no complaints there. It's interesting in the 1st B theme section, you chose to go to E flat major rather than D major. I think what you did works well within the context. The development section was also very good, though I felt there was a slight tone/character from what came previously. The orchestration textures and harmony made it sound like something Tchaikovsky would write...but it wasn't too bad. Harmonically, there were a couple of odd-ball dissonances thrown in randomly...was kinda odd. I agree with maestrowrick, counterpoint can really enhance this piece. Orchestration was good. Personally, I would do away with the trombones. You're string bass writing seems to be on the higher range side, I think some of the passages should be brought down an octave to double the celli (an octave lower). I've seen Contrabass and Double bass notated in scores, although I do prefer using "Contrabass" myself.
  5. It's a promising start! You have a nice melodic subject, with adequate harmonization....it COULD use a little more counterpoint, but for now it's good. I guess for the next steps, you have to develop that melody, and possibly come up with a second theme that gels in nicely...and then develop that too! Do you have a score you can post? I think we'll be to give you more detailed info regarding instrumentation if you've got that.
  6. Since I have other stuff going on this time around, I volunteer to be a judge
  7. While this is an over the top parody of the Barber Violin 3rd movement, it also feels like an homage to that piece. Starting from that snare drum rhythm (which I believe occurs in the 2nd half of the Barber movement), the big orchestra tutti attack chords, the devilish time signature changes, and off-kilter rhythms, and the general perpetual motion feeling of the piece is very similar to Barber. The tempo of your piece is a bit TOO fast..even violinists who play Barber at the tempo (excluding the finale bit of Barber) miss the subtleties by playing it too fast. I agree with MaestroWick, in that some of the acrobatic violin stuff will be covered up by the orchestration, mainly towards the end. Is measure 93 even playable? At best it's gonna come out sounding scratchy and non-pitched. In measure 76 (and whenever that happens), wouldn't it be better for strings to play those all up bows. I feel like down bows would make the sound more weighty, and the strings are just accompanying there.
  8. I was going to comment on the similarity between the Sondheim theme and yours, but Ken beat me to it lol. Generally it's a very well constructed piece, very upbeat, with catchy melodies, sharp orchestration, and interesting harmonies. I think it maybe a little TOO "economical"...I wouldn't have minded another theme, possibly something contrasting in mood, key, tempo. After all, rhapsodies are suppose to be more improvisatory with a range of contrasting moods. Also, since you feature the piano as a solo instrument, I was wondering if a bombastic cadenza towards the end would be appropriate? Thanks for sharing, and nice to see you back on here!
  9. Still haven't mastered it completely (especially the waltz), but here is a recording I made while playing stuff. Not the best, but you'll get the general idea.
  10. This is a very nice piece! I've attached a recording of me kinda playing around with it (intonation still needs working...) One advice I would give you is since you have these unusual time sigs. you should place courtesy accidentals on some of the notes...it threw me off a little.
  11. Just sight read it and made a recording of it (and have attached it here). Quite a fun piece, some of the double stop leaps were hard...maybe with more practice. I honestly preferred the "up-down" bowing for that motif.
  12. Cool. I'm no good at writing fugues...never really written one. But I'll take a stab at this! I can't say promise that I'll deliver in the end though...
  13. So is this competition the official Winter 2017 competition? Or is it just a side competition not affiliated with the seasonal ones?
  14. 2nd place!!!! Wohooo!!!! I would gladly take this score over what I got during Monarcheon's mock scoring of my other theme and variations! Congrats to Emiliano on a much deserved victory! His piece was just...wow! Congrats to all the other entrants too, and a big thank you to all the judges! We had a great turn out and wonderful entries this time around. Hopefully we can sustain this into the future.
  15. Oh my! Seriously, this is way more interesting than my entry!!! I love the wittiness and the fact that the piano writing is virtuosic. My only criticism is the introduction part, it just doesn't mesh well with what comes afterwards. Congratulations on such a fine achievement!