Jump to content
  • Chatbox

    Please consider reviewing as well as posting. Not only does it help balance the number of works on the site, but it helps you get involved! You may think you have nothing to add, but something as simple as "this was cool because of this part" or "something about 0:35 threw me off a bit" does help. Thanks!
    You don't have permission to chat.
    Load More
  1. Board

    1. Announcements and Technical Problems

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

    2. Young Composers Magazine

      All topics related to the Young Composers Magazine go here.  If you are interested in signing up, please join our magazine club.

  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)

    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)

    3. Choral, Vocal

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

    4. Piano Music, Solo Keyboard

      Upload piano and solo keyboard works

    5. Incidental Music and Soundtracks

      Upload video game music, film music and other forms not primarily intended for the concert stage

    6. Jazz, Band, Pop, Rock

      Upload Jazz, Band or Pop/Rock compositions

    7. Electronic

      Upload music which makes use of electronic resources

    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.

  3. Community

    1. Masterclasses

      Contains a selection of Masterclasses.

    2. Music Appreciation: Suggest Works or Articles

      Suggest works and discuss past and/or present events, for the sake of Music Appreciation.  Link to YouTube videos, iTunes links, online articles and composers websites.

    3. Composers' Headquarters

      General discussion on composer-related issues and music composition.

    4. Repertoire

      Talk about musical repertoire, from full-blown orchestral works to solo piano pieces

    5. Performance

      Discuss the performance of music here, such as the characteristics and limitations of different instruments

    6. Advice and Techniques

      Offer informal advice on methods of composition, compositional technique (e.g., fugue writing, chorale-style harmonization), etc., that you feel may be of benefit and interest to our members.

  4. Competitions and Collaboration

    1. Competition Hall of Fame

      A list of winning works of all of our competitions

    2. Monthly Competitions

      NEW Smaller-scale competitions held on a monthly basis

    3. Collaborative Works

      Work on a piece with other composers

    4. Challenges

      "Little creative exercises for composers to think outside of the box."

    5. External Competitions

      External competitions that are not hosted by Young Composers.

  5. Technological

    1. Finale and Sibelius Help Desk

      Post questions about Finale or Sibelius here

    2. Sound Libraries

      Discuss different sound libraries. This is also the place to talk about software samplers, such as EWQL, VSL, GPO, Kontakt and Gigastudio

  • Music Jotter Windows Demo

  • Works With Few Reviews

  • Topics

  • Posts

    • I always enjoy listening to your works - they're often very different from other things that can be heard on this site. Your harmonic language is as always exciting and engaging. I personally have to disagree with the others - I think the trombone here works quite well. I get the feeling of it being a true duo, such as one might find for two pianos, rather than where the trombone is taking the spotlight (correct me if I'm wrong.) That said, the piano seems a little too prominent at times, like the trombone is an afterthought.  Well done on a colourful and interesting piece! aMC
    • This is really really great! I love your inventive orchestrations and the variety of tone colours you use. I like your main themes and the accompaniment patterns with the semiquavers (Bar 2 etc.) I think sometimes when you change to the repeated quaver patterns they lose some of the momentum. However, they do provide a contrast. Fantastic! Congratulations on getting it published. Is it at all likely that there may be rehearsals/concerts for it in near future?  aMC
    • Hello everyone. I am an amateur keyboard player, here to poke around and hopefully learn something, and perhaps offer something of equal value. I have written a few things but the catalog is small due to a bad attitude and lack of musical competency.  They're on soundcloud at [https://soundcloud.com/liddingsandgewis] if you're interested. In my dayjob I cut cast iron in a machine shop. I used to play double bass but due to time requirements, I had to switch to piano in order to obtain better music fluency. Currently I'm teaching myself counterpoint from studying bach, fux, and palestrina, and studying piano.  I still have a long way to go to achieving expressiveness, however. My greatest hope is that something I write will please God, myself, and others.  Bless.
    • That is a trick I sometimes use as well where I substitute a bVII in place of a tonic chord (or just a b7th degree in the bass).  I think I learned that from "Earth, Wind & Fire" LoL.  As for the chord in 156 - it seems to be a C half-diminished chord with Gb in the bass which to me is implying more of a bVI function but then you borrow that G natural from the major mode to me implying a IV (although the chord all along there has really been a kind of ii which I guess is what you mean when you say that you substitute chords) and you resolve the piece of course, in Bb as a sort of half-cadence overall.
    • @PaperComposer, You should analyze the chord progression from 92-101 and figure out what I did there. I remember harmonizing it quickly and not really knowing what it would end up being. Looks like Gb, Bb/F, Gb, Bb/F, F7, and then we end up in Ab Major in 101, which is just delightful. “Hey, here’s this transition where I’m setting up Bb Major, but nope! Let’s go to Ab Major instead!” Composing this way is a lot more fun to me. 
  • Create New...