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  3. Guillem82

    Andante Concert AM

    Here goes my new piece (inspired on Barroque Music) Instruments: Oboe Solo, Violin Solo, String Orchestra and Harpsichord if you liked, you can also hear:
  4. Marc Deflin

    Study for recorder and cello

    Hi all 🙂 Just wanted to give it a try to a duet between a recorder and a cello... Here it is ☺️
  5. Ampnoe's


    I find it Eerie music and Adventurus too! Good work artist Olivér Kovács !
  6. Ampnoe's

    Slanted Ballrooms

    Wowww! Music for a great movie! Amazing professional work! 10000 like! i am going to share it on my timeline if you dont mind! 🙂
  7. Ampnoe's


    That's the final version guys! i hope to enjoy this piece ! i will make remixes time by time! thank you all!
  8. Last week
  9. OliverKovacs


    This is my latest track.
  10. E.Frantz

    Composition for piano Op.13

    Thanks @SergeOfArniVillage for listening! I like your thoughts and ides about this piece, will definitely try some out! and thanks for the detailed analysis! I’m not that good at analyzing and putting it in words, so I really appreciate it!
  11. https://www.youtube.com/watch?v=28K0oF-xZvU Song Title: "Alchemy" Composed and produced by EL PRASO 2019 Graphics: The Alchemist in Search of the Philosopher's Stone, by Joseph Wright, 1771 ________ #orchestral #instrumental #elpraso
  12. Seni-G

    East Wind - Duo - Sounds of Balkan

    This is phenomenal. I love how you vary the rhythm throughout the piece. Both of you play with virtuosity. Well done! I will share this with friends.
  13. J Shu

    Piano Quintet

    This is great stuff! As a huge fan of classic Hollywood scores, I'd love to hear this and other works of yours played by live ensembles.
  14. Seni-G

    Music that reminds me of dog-sitting

    Mind traveling music! I like that. Thanks for the kind words.
  15. Jared Steven Destro

    Three Paintings, Op. 17

    Hi guys! Here I have a set of three short "paintings;" music to me is very visual: the score, the composition, the sound (color). I found it important, however, that they not have any normative paintings in pairing, so as to allow the music to provide this suggestion, perhaps. Based upon the quality of each piece, I assigned a title to them each. I would love to know if there are improvements, especially notational ones in regard to the piano, that could be made to the score. To keep with the fluidity of the subject, the pedaling of the piano is meant to be frequent and hazy. Also, as for the third piece, suggestions on the long runs presented (e.g. playability). Enjoy!
  16. stewboy

    Ode to Hersheypark

    I haven't seen the original work, so I'm just looking at this as a concert band piece. I think the opening develops too slowly - I think it would sound better if four bars were cut out and the vibraphone came in at bar 5. I found the glock/oboe rhythm at 96 quite interesting. If you were intending this to be played by a real band, I would kind of recommend just having the glock play it - the reason being it's a very hard rhythm to play, and even I would probably find myself very slightly fudging it. Which would be fine if I was the only player with it, but two players fudging the same unison rhythm can end badly. Another thought I have is that it doesn't seem like it changes enough. You've got plenty of tempo/rhythmic variation, and you change up the chords, but you don't have any dynamic variation and you often use the same combinations of instruments. These things will come more naturally to you as you get more experience in writing - an idea will come with a specific sound/dynamic/colour in mind. You're also generally using the full range of registers available within the concert band - more ideas for variation would be using only the high register or the low register.
  17. Rabbival507

    Main Theme Opening

    @sswave I don't think that the soundeffects should be a part of the music track. Separation would lead to a better feel of the scene, the white noise track should be controlled according to the player's situation. Other than that it sounds pretty fit to the story you told. You might want to bring the plucked strings (idk if that's a harp, a guitar or something else) an octave lower, to me it sounds too sharp. Also, if you already have the honor to compose for an actual game- look at Austin Wintory first works (I'm talking about aleatoric soundtracks that change according to the game's parameters), I think that's the best kind of soundtrack a game can have, you might want to consider doing that. Maybe do what Lena Raine did in Celeste and simply have a few tracks running at the same time with some of them faded out or cancelled when necessary.
  18. HowieFletcher

    Remember The Day

    Hello Everyone, Here's a piece I wrote recently that is on Spotify, a full 8-track album is to follow. I will up load the score to view soon. For now, let me know what you think. Thanks!
  19. Rabbival507

    Fantasy in C# Minor (Part 2?)

    @edfgi234 You have many good ideas of rhythms and your harmony is interesting. However, piece is a bit too long for my opinion and there were some parts where it felt quite empty: It's a bit of a dramatic fall after our ear got used to more rhythmic patterns, more complex harmony and more voices. It feels to empty, at least for me. If you want this nothingness I guess it's fine but I think you should drop these elements one by one. I'd simply give the right hand chords too, so it sounds... fuller in a way. Also I like the way it ends.
  20. I have had quite a lot of time over the past couple of days and tried to finish this piece. I'm not sure if this piece should be called a fantasy or part 2 to be honest. Feedback is appreciated. Thanks.
  21. I literally meant that I don't know what difference you're making between "copying" and "rewriting." Explain what each means exactly since I don't understand. Copying is note-per-note copying? or is that rewriting? ??? I'm pretty sure there's enough analysis books out there on that, but there's no better way to study it than to study the stuff you want to imitate. Harmony, form, etc etc. What's so hard about that??
  22. Jared Steven Destro

    Symbols, Op. 22 - I. Sculpture (A Study in Shapes)

    Thanks for the feedback! My ideas for the piece are very abstract, and one could say that the "shapes" are like the different figurations of the given melody, which remain steady and always building. Thanks for sharing 😀
  23. Rabbival507

    Final Result

    I'm not here much lately simply because I don't compose much and don't find much to say about other people's compositions. I think that since music isn't a part of my daily routine for... over half a year now my brain kind of put it aside. Currently it's good because I'm still on a massive learning program, where I can't even listen to complicated music (the radio is always on a pop channel since that's what the other people like...) I surely hope to get some more time to listen to music I like, make and review some more pieces but... sadly that's probably a false hope.... Anyway! So here's my last performance. The piano missed a quarter near the end but other than that I'm thankful for this brilliant performance. Some of you saw some this piece in some levels during it's development, like when I chose to use the In-Scale. I don't ask for any review really. I just have a need to upload it, so that people who saw me mentioning it in the past would be able to see the final result. Maybe I even already uploaded it and I don't remember though I doubt it XD I will come and check out on it (I'm not sure how often though), so I will eventually read your opinions. Thanks in advance for the listeners and reviewers :) Also here's the Jami Sieber's approval:
  24. Well I actually compose four-part contrapuntal exercises almost everyday, but they are very short. I still think there's still a lot of stuff that I don't know. For example, as I mentioned earlier, there are almost 20 pages on Schoenberg's third book only about motives, and he's illustrated a lot of examples too. I haven't studied that book yet but I definitely think there's a lot to learn just in that book. Also, I haven't analyzed any of the masterworks yet.
  25. punintentional


    Cheers! 🙂
  26. It can help you, but if you want to get "better" at composing, you need to actually compose. Studying history and all this stuff is good and all, but you need to be composing every day, even if just exercises.
  27. I know, but shouldn't studying help composing ?
  28. Studying and composing are two different things really, so don't worry about that. If anything, letting stuff influence you at the start is a good idea and kind of natural for everyone.
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