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Found 185 results

  1. last movement of my sonatina for trumpet and piano.
  2. Hello everybody, I have finally finished my Suite ''Seizoenen'' for Solo Piano (Op.36). Dutch: Seizoenen = Seasons. Maybe you have already heard some movements, but I wanted to post the composition in its complete version. This composition is set in four movements each presenting a season. I tried to make my associations with the seasons as clear as possible. I. Winter (Winter): Presto animato. II. Lente (Spring): Allegro vivace. III. Zomer (Summer): Andante sognante. IV. Herfst (Autumn): Lento melancolico. My favorite movement is the Zomer, because for me the music fits my idea of the hot Summer. Enjoy the listening! Feedback would be very appreciated and helpful! Maarten
  3. These are my "Three Sententiae for Trumpet and Piano, Op. 296". They are my first pieces ever written for the duo of trumpet and piano. I sent them to a professional trumpeter who had made a call for pieces for trumpet and piano, but I never heard from them! Obviously they didn't like it and in all rudeness couldn't even acknowledge receipt of the pieces! It's their loss and your gain! I post it here for your enjoyment and feedback which I will appreciate.
  4. This piece is called Jack's Song, composed shortly after the birth of my son. Having is a child is one of the most transformative experiences one can go through in life. This music is a reflection of all the feelings and emotions and self-searching that went on in my head during those first few months as a new father.
  5. Here is the second movement of my sonatina for trumpet an piano. Played by Michael Brest and Enae Han.
  6. Dear Friends, Here I share one of my piano songs composed several years ago. Since then I have never gotten any feedback for the song. I'd appreciate if you listen to it and share your impression with me. Thanks in advance for listening to it :) Here is the youtube link of the song:
  7. Hi everybody, This is my latest composition made for the Harmonic Extensions adv. assignment by @Monarcheon. Tonal music worked the best and when I read the assignment I immediately thought about sonata form. I noted in the score where I have applied the three new ways of harmonic extensions. Actually I don't really like the music itself, because it sometimes sounds so Beethoven or Mozart-like and sometimes it sounds like later 1850 music. Please tell me what you think. Feedback would be very appreciated! Maarten
  8. This is my assignment for Monarcheon's masterclass, THEORY 202: Adv. Harmonic Extensions.
  9. Hello Friends, I'd like to share the composition that I finished today. So it is very fresh :) I am looking forward to receiving your feedbacks.
  10. I don't remember a piece for prepared piano in the forum... Perhaps there is. I've been studying and experimenting... I know this is not a "standard" to listen to. In fact, I think prepared piano deals with rhythm and colors. But I like it. This is not my piano, impossible in an upright. I tried to put some objects but it's quite hard and they fall down. So it's a virtual piano. LABYRINTH.pdf
  11. Dear friends, Would you like to participate in the Seventh Piano Composition Competition Fidelio at home via internet? No matter how far you are. You compete at home Inscription 10 euros or equivalent in dollars. 3 cash prizes and more... In this competition the winners are chosen by the entrants through a voting system published in the web, it means that you and the other participants will have to vote for the works via email. It's very simple, you just have to inscribe and send your audio file. You don't need to send the sheet music, just the audio file. Joining the voting rounds is quite exciting! You can participate with name or nickname. Deadline to submit your piano composition 20th May 2017. There is something new compared to last competition: 1) audio files can last up to 4 minutes. 2) People will be encouraged to leave comments on the works when voting, this comments will be sent privately to each one of the participants along with the results. Many countries involved. Enter here to read complete guidelines:
  12. So I asked online for people's favorite Bible quotes a few days ago and this is what came out. Hope you all find something to like about it.
  13. I already posted this piece, but now I get a live performance. This is a project of Trumpet player Michael Brest. Every month he and pianist Eunae Han will premiere a new piece for trumpet and piano. This is a good oportunity for all composer of this community who have a piece for trumpet and piano or want write for this formation. The description of youtube video has hhis contact. Here is just the first movement, the another two will be posted soon.
  14. Hi guys, here's a 16min preview of my new piano piece Shifting Tones II, gauranteed to relax you! If you fancy all 27mins head over to my site Lots of other free piano pieces there plus others for purchase. Hope you enjoy. Many thanks! Mike
  15. Hi everybody, The last weeks I am focussing on instrumentation and orchestration. I wanted to arrange a clear Haydn sonata for a small orchestra with 2 natural horns and 2 oboes. The full name of the sonata: Piano sonata in D major, Hob. XVI: 37. Beautiful recording by Eschenbach: I wanted to keep the atmosphere of the sonata, which is very energetic, but not complicated. Because this is for practice, I only arranged the exposition of the first movement. Score, which I used: Haydn - Piano Sonata in D Hob. XVI;37.pdf M.Bauer - Small Orchestral Arrangement for Haydn Piano Sonata Hob. XVI;37.pdf I'd love to hear your feedback! Maarten
  16. I could include the pdf score if anyone is interested. But it isn't designed to be physically played; the jumps are too big for hands so it's intent is electronic. I can think of some ways that I could improve it but for now comment, enjoy[?] and lose yourself in my pretty strange, self-taught methods for piano composing!
  17. Hello fellow composers! I'm leaving you with my newest composition - Th Ghost. It is written for piano, small string ensemble, synthesizers, and harp. I literally have no idea what I was thinking when I was writing this piece. I've never used that much dissonance or vague tonality. Partially I wanted to step back from the usual canon patterns that I tend to follow and do something unconventional. At least I've tried. It is a mostly thematic piece. I also had problems with mixing and changing dynamics/panning/EQ - I absolutely hate Logic standard pizzicato strings... Anyways, thank you for listening, and hope you enjoy this small piece just a little bit.
  18. There's not much to say about this piece, it is a three-part fugue with modest pretensions in that sweetest of keys, D minor. Like my canons the primary material is derived from encoded names in mod-7 form with free accidentals.
  19. Hi... Since I learnt of the Mosaic Form from Stravinsky (Symphony of Wind Instruments), among others, I fell in love with it. In it, there are a number of short parts that the composer put together in different manners. So, the concept of classical forms, and the concept of repetition is simply another one. This piece takes the idea of the labyrinth from the other side (compared to the one in the prepared piano piece). This one looks inwards and I wanted to write something "intimate". So, this work is written for another kind of prepared piano: it should be played with the una corda pedal all the time, and with a fabric on the strings of the piano, to get the sound. There are 11 fragments using always pentatonic scales (some of them with two scales at a time). There are two expositions of the material: Firstly in a sort of "disorder" (as looking for the exit), secondly in the "right" order. Details can be seen in the final page of the score. I am aware that this Mosaic Form is something unexpected (in fact that's its main purpose). You can't compare it to a AB or ABA form, or whatever. Its organization takes its essentials in other concepts. LABYRINTH 2 - SCORE.pdf
  20. Hi all, This is the third movement of the Seizoenen* Suite for solo Piano, which is called Zomer.** *Seasons. **Summer. The Summer is for me the period, when I can relax. In this period we namely have a long school break (6 / 7 weeks). I wanted to let this association with the Summer sound in the music. Feedback would be very nice! Maarten M.Bauer - Suite for Piano''Seizoenen'', Op.28 III. Zomer.pdf
  21. Hey so this piece is really dumb but I really like it for some reason. Enjoy!
  22. Hello, This is my lattest piano work, composed in january. I wanted write an animated piece, inspired by popular music of Portugal, so it is very tonal probably one of the most tonal pieces I made. I would apreciate very much your feedback and I apologise for the lack of dynamics Thank you!
  23. Hi everyone! I wrote this piece, "Penumbra", at the request of a teacher, and I liked how it came out. The inspiration musically was based around progressive rock and jazz fusion structures and harmony. I have only a little experience with clarinet and cello, so I'm not sure whether all of the fingerings are ideal. I'd be very grateful if any players of those instruments could give me feedback on that. Penumbra.pdf Penumbra.mp3
  24. This time, I wanted to work with rhythm complexity and the mosaic form. I took a pice I had written for piano solo, which was a canon in prolatio, and I added two more voices to the canon in some partsThe piece is for two violins and piano. There are six different parts: A = 2 measures B = 8 measures C = 3 measures D = 8 measures E = 3 measures F = 4 measures The structures is as follows (written in the score): ABCDAEFCEFABDACEF Don't expect a classic binary, ternary or whatever form. This is a different (contermporary approach) where the parts are short and the mosaic is done combining them in different orders. So, the concept of variation and climax is not the classic one. Parts B and D are the more complex. The four voices (piano two single melodic lines, plus two violins) are in prolatio. The same melody is played at different rates or time signatures. These parts, although are not always consonant, are in tonal "environments": part B in Gmaj, part D in Dmaj. I wanted to focus in the rhythms. The other parts are in contrast. The texture of the piano is chordal, and tonality dissapears. Although the whole piece runs in quarter note = 78, I notated the exact relative timing for the voices in prolation. This was an observation that one of the teachers I had made, in order to make clear to each player the timing. LIFE IN A NUTSHELL_LH - SCORE.pdf
  25. This is my 10th soliloquy for piano. Here is the link to my 9th piano soliloquy: