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  1. Today
  2. Hi Alexander, thank you very much for listening and for your feedback, I'll keep that in mind!
  3. These were quite charming, I must say. Hard to believe someone in high school wrote them (your sound library is certainly impressive—maybe that helps? Lol). I enjoyed Poulenc, Prokofiev, and Stravinsky the best. Great use of dissonance and expansive chords. It's a pity these were only a minute or two each... Thanks for sharing!
  4. Just looked it up; I meant piano sonata 7 mvt 3 for Prokofiev, not 8 😜
  5. Yesterday
  6. That experiment is kind of what my Suite of Minimalism is/has been. This was written in 6 hours for a high school english project, so it was more directed to getting me a good grade rather than being the next set in my composer’s folder. I guess I should not have used “lazy”. Maybe if I ever do another composer inspired piece for reals in the future! Thanks for your comments
  7. So, this is kind of like your personal blog/promotion? Didn't we have a section of the site for this kind of thing? Oh yeah. https://www.youngcomposers.com/f37/journals/ But I guess nobody uses that now.
  8. In this orchestral sketch I use a concept for a basic layer which sounds amazing! And it is super simple! Even if you have zero experience with a piano, you can learn to play it live within minutes. And you would steal the show. 00:00 - Introduction (massive thanks to my Patrons!) 01:35 - First Listening (piano line and orchestrated version) 03:00 - Cantus Firmus (only four notes to start with) 03:57 - The Trick (become a piano maestro and steal the show!) 07:39 - Melody 1 (I wrote this melody with a cello in mind) 09:17 - Melody 2 (another beautiful orche
  9. I really like this work. In fact, the laxity or loose is a strong point for me. Although it seems it doesn't follow a typical or classic form, it has coherence. And, why not to say it..., I'm tired of classic forms and I appreciate the exploration of new formats. In the second part Metamorphosis, the andalusian (or something like that) cadence seems a bit of cliche, but it doesn't happen very often. Perhaps I feel it this way because I hear it many times here. On he other hand, I like the idea of connecting scales along the Mediterranean area. I don't have a favorite part, but Milen
  10. I listened to the Prokofiev Piano Sonata 8 3rd movement and it only seems to change meter between 4/4, 12/8 (which is still 4/4 only with triplets) and 3/4 and it only changes those meters at different sections of the piece, but in your Prokofiev parody you change the meter within a very short amount of time within a phrase which isn't characteristic of him imo. The Poulenc Sextet changes meters more often but still not within phrases but in between them. I think (if you weren't lazy as you say) you could expand on this and get stoked and really get as much out of your love of these comp
  11. Thanks Olov for your detailed analysis, will pass on your comments to Aditya.
  12. I think you might get more of a response to your music if you posted each movement separately. With upwards of 50 minutes of listening it might be a little much for people to review all at once. Also your copious amount of reverb really muddies up the quick figurations you have especially if they contain repeated notes. The re-articulation doesn't speak with this much reverb. Also it seems to me (although I could be wrong) like there is a lack of thematic unity within these, but you do have themes that appear and re-appear here and there they just aren't integrated into the structure (and
  13. Last week
  14. I played flute for years and in an orchestral setting, yes, it's very easy for the low register on the flute to be covered up. In a duet like this, though, I think that competent players can maintain balance between the instruments. The low notes on the flute take longer to "speak" so they might not come through as well in fast passages, but unless the oboe and flute are both in their low registers at the same time, I think good players can make the balance work.
  15. Hello people, I will introduce myself. I am a piano player from the Netherlands, currently 18 years old. I have always improvised music, and never written any music. I also have almost no knowledge of music theory, so go easy on me 😉 . What I am uploading today is some themes I improvised today, but I have modified them slightly and improvised some middle parts because the themes are not in the same keys. I will take any feedback in high regard. P.S I have not included any sheet music because I can’t read nor write sheet music.
  16. Here we go! Hardcore baroque! I enjoyed it 😍
  17. I love hymns. This was a beautiful song and nice use of articulation, technique and variety in playing styles. Brilliant ideas. I was bugging out by the pedal that never releases and but it can be something in the written form. In places like 01:13 it becomes dissonant to the harmonies coming after. Somewhere in the middle there was a bass heavy part, maybe skip the pedal completely. At the end the low chords gets a little "muddy", try more dense chords intervals. Someone told me dense chords sounds best in the middle of a piano, and he's got a point. You have a key change or mo
  18. Beautiful and with nice texture, especially with the bass lines, and the melody completes the bass line well in the texture, nice playing. Good articulation. Although some of the chords or notes doesn't fit in, for example 00:59, 01:07, 01:33 (pedal?), 01:44-01:47 - in modernistic music it could work but not within this style. It's also better to begin the piece with a tonic, in my opinon. Aditya is very talented. Keep it up!
  19. I like the trumpet theme and background. Maybe needs a little faster pace and rhythm (instruments)?
  20. As the title states, this is an organ transcription of the Rex Tremendae Movement of my Requiem. Not sure if this is exactly playable, any organists out there? The original movement on which this is based can be found among the other finished movements here: https://www.youngcomposers.com/t34257/requiem-in-e-minor-completed-movements/?tab=comments#comment-1186669016
  21. Hi Eickso! Thanks for listening and giving feedback. I see, we all have different tastes in regards to musical genres and periods. Some of the late classical era (1750-1800) music I can't stand, but I think it brought some of the best melodies in time. I prefer Baroque style because of the complexity but it's also harder to write. About the ending, for some reason it's always hard for me to decide that last bass note. Or if it should end in rhythmic unison, well. In some cases unison is better, I agree. Take care
  22. Ha, I really like that I just made a ripoff Mars. Holst, Debussy, Rach, and Prokofiev were the composers I did not know how to replicate, so I thought it would be funny to make the Holst Hell sound like that. I will list out what I was thinking of when writing for the different composers and where the inspiration came from. debsuussy - no idea actually Poulenc - His Sextet, and his clarinet sonata. I think the horn moment sounds like something from his sextet, and the woodwinds + string dissonance as well. Rach - lmao I don’t know on this one. I just thought the clarinet/pi
  23. Just responded to your last piece. Ah well I played the guessing game with my girlfriend when she came over and it was fun, so I thought to at least add it here. Stravinsky, especially Rite of Spring (being one of my favorite pieces ever), are embedded into me and my writing. My style meshes from my love for Stravinsky, Adams, and Poulenc specifically, while trying to be as unique and cool in my own way. i agree on the Debussy. I think that one is the lamest of the 9. I did spend very little time on that one, though. I use Dorico + Noteperformer. If you want to send me
  24. Hi Olov, What a cute little piece with an easy to follow melody. As I am sure you heard when listening to my piece earlier, we have completely different styles. I do appreciate the nice baroque/classical sound here. I listened to the middle recording before the youtube video, and the only things I disliked were my general feelings towards classical era music, and the cello doing the eighth note at the very very end. I feel all the instruments should end together, and that part stuck out as weird to me. Kudos to this piece though!
  25. You have some beautiful harmonic and melodic ideas. The piano sections are the strength of the song. I think maybe the brass in the beginning is a bit bombastic compared to the rest of the piece? Maybe have them play a bit softer or save them for another piece. The brass in the third section is very far from the rest of the songs also, but you can keep some of the ideas if you change the instrumentation and thus making it more coherent to the rest of the song? Suggestion: In the end piano section you can try to have like a string tone lingering (violin I) while having the piano
  26. @PaperComposer thanks for the feedback! I guess I was trying to spice it up a little with the chromaticism, but perhaps you're right about it being out of place.
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