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  2. I think the idea is interesting overall! The instrumentation is cool and I like some of the rhythmic ideas! My main concern would be the musical "goal" of the idea. For me it seems to loop without any development. As a type of background music to say a video game, I think this type of piece would be a perfect for it! But if it were meant for a more "performance" type of music, then, I would look into how to develop ideas further! As it is, it does not sound bad! I would like to ask, who are your influences and what type of music are you looking to write! Keep going! Also, my ear did not bleed lol
  3. How well is your knowledge in things such as harmony, counterpoint, and form? I would say having a great and in depth knowledge in this topics can help! Also, what trios inspire you, and do/have you analyzed any of the pieces! By doing so you can figure how trios are written, and if you choose to, model your work on those pieces!
  4. Here is a Fugue in C Major that I composed for Pipe Organ. Overall, I think it sounds good, but I am open to any feedback! I am eventually write a prelude for this idea as well! Also, for anyone more familiar with the instrument, do staccato markings make sense for the pedal part of the idea? Thanks!
  5. I really like the piece! Any plans to use this for a suite? It reminds me of Corelli's church sonatas, especially when using the organ as a continuo instrumnent! Initially the trills on the end of the bars, kind of sounded a bit "off", but after several listens they started to sound "right" to my ears!
  6. Today
  7. Step back and evaluate your composing process.. Are you spending excess time, 'finding' the right notes, correcting things? Perhaps set a goal of composing a short piece in a specified time. As an exercise, doesn't have to brilliant.. Progress - not perfection is the goal.. Is there a way you can shorten your process. copy/pasting/transposing sections. If notes have the same rhythm - copy/paste, then fix the individual pitches etc Sometimes as we work to perfect our music, we run into which choice do we make.. And that can take longer then we did when we were younger. Because as the piece grows, we could have taken a better choice earlier in piece, and now we must go back and rewrite something. Now I'm not a classical composer, so there are certainly many issues in addition.. As individuals we each are uniquely different.. If you have perfect pitch, a photgraphic memory. Know a number of composing techniques or devices, it perhaps come quicker. After spending many many years working on music.. I will play a part and then be able to correct what I play looking at orchestra type score, or sometimes just looking at the piano roll. My hands seem to know where to move the notes.. Be patient, it will take as long as it takes. Be on the lookout for guidelines, and techniques to adapt to your work..
  8. Hi all. Have recently added a whole new section to my piece "The Dragon's Quest". Was trying to create a more exciting climax, by using call and response, with rapid changes in orchestral texture and modal colour. The new material starts at 5'42", then mixes back into the old ending at 8'14". I'm still working on the score: so loads of enharmonic spelling errors remain. The pentatonic sections require Gbs instead of F#s, etc... Interested to hear what mental images it conjures up? My vibraphone part is going out of range at the top: so need some ideas on how to fix that? A celesta could cover all the notes; but may not be loud enough against the other instruments playing?
  9. Also, particularly for symphonic pieces/chamber music, it really takes a lot of time to write!
  10. Thanks, but as a budding composer, I feel my output needs to increase. My dream is really to make classical music known and appreciated by the world, and to do that I first need to get better at composing. But besides, quality, quantity is also important!
  11. I am probably the worst one who can answer this questiob since I always compose real slow!! I omce spent 6 years on a work even though there were many things happening between. Just keep going and keep in mind that you will finish the work one day! Also I think quality is more important than quantity! If you sacrifice quality to faster progress I am sure it's not worthwhile! Maybe you can listen more music and review more here? It definitely helps your composing! Henry
  12. Timeless Dance.mp3 Hello, i have been learning composition in DAW for about one and half year. Looking for honest opinion about my work and maybe some advice how to improve. I hope your ears dont bleed to much while listening 😅
  13. This may seem like a nonsense question, but how do I compose faster? Ever since school started, I've been really busy and all, but I still really want to compose. I'm working on a piano trio right now, but it seems like I never make any progress no matter how hard I try. Anywhere from shortcuts and tricks in Musescore to changing the way I look at composing, please give me some ideas. I really feel like I could do much more if given more time!
  14. Hey, @Thatguy v2.0, thanks for replying! It means a lot to me. I'm flattered, frankly 😊: I've experimented with writing rhythmic, harmonically non-reliant pieces only once before, so your approval is a good sign I'm (probably) going in the right direction. Rest assured, I'll definitely post more of this piece once I've gotten enough done with it. I had a feeling my guitar writing would be the rank outlier here: I've only ever written for classically-rooted instruments (if barely), and I've never written for guitar instruments before. I'll also consider adding the chord symbols, although I don't reckon it'll be of much use on this particular sheet music: I'll create a fake sheet once I study up on how to make one of those. On a side note, do you think the guitar was an alright addition? I thought the timbres of the guitar didn't really 'mix' with the rest of the ensemble, so I got rid of it in the end. I've attached the reworked version below: I fixed some things up, and I added a (totally obligatory) bass solo at the beginning for good measure. Would love to hear back from you! 😄
  15. It's a smart way of classifying composer by their specialties rather than in general.
  16. I had a similar issue while writing for orchestra, so I get that feeling. You can select the rit. and go to Properties (either go to View -> Properties or press F8) and change the slowing rate of the rit. to what you need. You can start at a slightly slower tempo if that helps the rit. slow just to your preference. If it's not to your liking (or if you knew that already), hiding them works too.
  17. Hi everyone, 😊 I recently completed composing, a rather large symphonic piece, called Quest For The Holy Grail. It is about 28:00 minutes in duration. The theme of the symphony is Parcifal and his quest for the holy grail. The first part deals with the inner perspective of Parcifal, how he has to turn to his own self to fight his demons and his weaknesses as he embarks on his journey. From a spiritual perspective in order to enact his quest for the grail in the outer world, he needs to reach for the light from within to become pure and brave again and be worthy to find the actual chalise. The second part is about his journey to the outer world, where he finds the kingdom to be in decadence and it's citizens are now furious, with hearts filled with despair and hatred. So he journeys through the kingdom, in order to locate the chalise, to bring him back to Arthur and cure him. The composition consists of several music pieces, which are: Part 1: Inner Journey Song 1: Parzifal's Nightmare Parzifal, the noble knight, falls into a deep slumber haunted by nightmares of his impending quest. In his dreams, he sees visions of King Arthur and the impending dissolution of the once mighty Knights of the Round Table. Song 2: Remembering Companionship Amidst the turmoil of his nightmares, Parzifal begins to remember the bonds of camaraderie and fellowship he shared with his fellow knights. Memories of past adventures and the strength of their unity flood his mind. Song 3: Despair of the Knights As Parzifal delves deeper into his dreams, he witnesses the slow decay of the bonds between the knights. Agony and tension grip their hearts as they struggle to restore balance to the kingdom amidst growing despair. Song 4: Wigs of Betrayal The betrayal of Arthur by Sir Lancelot and Guinevere unfolds, shattering the once unbreakable bond of loyalty. The heart of Arthur, and those of the other knights, is pierced with despair as secrets are unveiled. Song 5: Bursting With Fury Parzifal's dreams turn to fury as he grapples with the betrayal and the realization that his quest for the Holy Grail will require him to transcend mortal limitations. Anger fuels his determination to become the chosen one who will save the kingdom. Song 6: Memento Mori In a moment of introspection, Parzifal confronts his mortality and the limitations of his own being. Death looms both within and without, urging him to find the courage and honesty needed to awaken his spirit and pursue the elusive Holy Grail. Song 7: Back To the Land Of The Living Parcifal is now coming back from his journey to the realm of Death and his awakening to the living kindom is a harsh and painfull one. Part 2: Outer Journey Song 7: Light From Within Guided by the inner light of honesty, Parzifal embarks on his quest to find the Holy Grail. Through trials and tribulations, he seeks the chalice from within, following the path illuminated by his awakened spirit. Song 8: The Knights Oath Under blood-red skies, the knights of Camelot take a solemn vow to defend their king and kingdom against all dangers, both from within and without. "All for one and one for all" echoes through the land, a testament to their unwavering loyalty. Song 9: Lost In Between Worlds As Parzifal traverses the wounded lands in search of the Holy Grail, memories of the once proud kingdom and the great vow to restore faith in its citizens flood his mind. Dreams and reality blur as he faces his final trials. Song 10: Kingdom of Decadence Confronted by the malevolent forces of Mordred and Morgana, Parzifal battles to overcome their dark enchantments and stay true to his quest. With newfound awakening, he locates the path to the chalice amidst the decaying kingdom. Song 11: Empty Halls of Camelot Returning triumphant from his journey, Parzifal presents the Holy Grail to King Arthur, who drinks from it and is rejuvenated. A second rebirth occurs as the king is restored to his former self, marking the beginning of the kingdom's restoration. InnerversE - Quest For The Holy Grail Enjoy!
  18. I would assume the string bow, yes. Bowed metals are very common; classic trick to get eerie sounds.
  19. This opportunity is seeking composers from anywhere in the world who have heard no more than 5 of their pieces premiered across their life to submit (not including self-performed premieres) to receive: $400 paid commission to compose a 5-10 minute work for solo EFX clarinet (clarinet and guitar FX pedals) Premiere of the commissioned piece by professional clarinetist Chris Mothersole Professionally recorded and mastered track of the commissioned piece Professional engraving of the commissioned piece by Evan Erickson Sponsored by Dorico, a copy of Dorico Pro 5 ($579) Sponsored by Wallander Instruments, a copy of Noteperformer 4 ($129) Submissions close June 16th with no required entry fee. Click here for more details and the application form: https://www.evanericksonmusic.com/2024-call-for-scores
  20. Yesterday
  21. Hey this is cool, kind of like Brubeck type of stuff. There's a lot of fun rhythmic stuff happening, and I love all the crunchy chords. That's awesome your friend is having you do the music! Will we get to see the final project?? 😄 I think this definitely fits thematically for what you're going for. The static harmonies work well with the intense rhythmic drive. You don't have chord symbols for the music yet, I would definitely do that. You unfortunately have some things that are impossible to play on guitar, and an experienced guitarist might have a work around if you explain the harmonic intent (if you don't know what the chord is called). For instance: Is the guitar standard tuning? There's no way to play that Bb7 shape. You could lose the top voice, but then you would lose the crunch I feel like you're going for. Just be careful with intervals of a second, as sometimes that's hard to achieve. Guitarists can take advantage of open strings, but these shapes don't line up well. The first chord (maybe just write E nat for the top voice?) is comfortable in open position, but awkward up the neck. I dunno, just my take. You seem much more comfortable with piano writing, so just another reason to make sure to add the chords to the score. That way, if the guitarist knows a quick fix and achieves what you're going for, lots of time gets saved 🙂 Great start, keep us updated!
  22. Hi @PeterthePapercomPoser and @Hcab5861! I've modelled the overall texture and soundscape off of the bass aria of BWV 159 (which is imo the most beautiful aria Bach has ever written). The omission of a harpsichord continuo and the strings "harmonic halo" are both completely intentional - I want the mood of the music to be gentle, warm, embracing. In addition, I'm a little bit torn on Da Capo form. I think it works well in duets but by default I tend to avoid it. From a singer point of view I don't get excited about singing the first part of the piece exactly twice, and from a compositional point of view, your ritornello theme better be REALLY good to warrant a minimum of four exact repetitions (but more typically six to eight repetitions including fragments), at least for those themes that are tonally closed. I much prefer the scheme of ABA' in these cases (e.g. see the alto aria in BWV 197), where A ends in the dominant and A' ends in the tonic.
  23. I really like film music and in many instances, I don’t see it as a distinct genre from classical because several great classical composers also wrote music for film which is played alongside their non-film (like Prokofiev and lieutenant kije), the forces and style are often very similar and in its greatest instances I think film music can achieve the same depths and heights as great classical compositions, and furthermore, there is a very direct evolution from Wagner and incidental music towards cinematic music, as they are fundamentally the same concept. With that said, it can also be really cheesy and cliche, especially today. Nevertheless I have a lot of “highlights” from the genre…in the interest of restriction I’ll just pick one for today.
  24. It's fascinating to explore the lesser-known works of great composers, as they often reveal hidden gems that showcase their talent and creativity in different ways.
  25. I've been taking something of a hiatus from classical music recently. I haven't had any big ideas to go off of when it comes to big orchestral works or even smaller chamber ensemble pieces; I've also wanted to compose small songs/do piano covers/write jazz pieces for quite some time now, and I figured it's about as good a time as any to just get on with it while I rest the classical side of my composing output for now. Don't worry (in case you are 😉), I'm sure I'll come back to it eventually. The piece below is one of my first attempts at writing in a distinctly alternative, non-classical musical language since I first started writing music two and a half years ago. I've been asked by a friend to write some pieces for his student film, and he asked specifically for an 'upbeat jazz'... thing to accompany a scene he plans on filming a couple of months from now. I decided to work with a jazz trio that consists of a drumset, piano, and acoustic guitar (since he planned on having the school band play the piece). I've made an effort to focus more on rhythmic drive and the 'groove' of the piece instead of melody or harmony, and I'm curious if anything here could be considered 'jazzy' at all, or if it's just a jumble of discordant sounds that merely assume the semblance of jazz improvisation. I'm quite unsure of this new writing style, so any constructive criticism is welcome. Hoping to hear from everybody! 😁 Note: the .mp3 only goes up to 1:42, since I haven't finished the piece. There should be a couple more minutes of music after that.
  26. Last week
  27. Absolutely lovely, listened three times in a row
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