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  2. Interesting. I must admit I do not know a great deal about Impressionism - does Debussy fall under this movement? And I’ve never really tried to compose for voice. It’s certainly something I should visit some day As for my goals... many of my works at the moment are generally sizable projects and routinely test my experience with form and structure. For example, I have a wind quintet for which I have composed over 2 minutes for the exposition, although only 1 minute for the development so far. Something tells me this is out of balance. Needless to say, it’s an area I need to build on.
  3. @Markus Boyd Thank you for your nice comment. My ambitions would be to regularly get to have some of my compositions played in concert and have some commands. My short term goal is to manage to have one of my choral pieces sung in a concert. What are yours? I think that at the moment my style is more close to "modal harmony" or "impressionist".
  4. You did a good job. I even listen it again and gain. I think the music is great, easy to listen. I have to say that your video is simple but unique.
  5. Today
  6. Hello Noah Well done, youve got a good melody line there that you reintroduce, through out the overture, to reiterate . I would say that in Famous compostions "Melody - is the Diamond on the RIng" SUPERMAN , by John Willams Takes less than 3 seconds to IDENTIFY. I think youve followed a few of JWs Scoring-techniques in your Concert Overture in Bb Major. well done. Noah.
  7. Hi 4 scores that were created a while ago, for a Film producer.
  8. So, in many pieces of mine, Sonata Form or not, I have gotten stuck at the Second Theme. Same is true for this piece that I am for now calling Lost. The First Theme that I have written here can be boiled down to a few motives. Here is the theme: And the motivic breakdown: A - Half step motion B - Octave Leap C - Descending third D - Neighbor motion E - Circle of Fifths And as you can see from the picture, there is very little of the First Theme that does not correspond to the motives used and there is a lot of motivic overlap, unifying it all into 1 cohesive theme. Looking at local keys, we get Em -> Am -> C -> Em -> A, with A being the key that the Second Theme starts in. But it isn't just this piece. With many, many of my compositions, complete and incomplete, Sonata form or not, I have gotten stuck at the second theme. Somebody outside of this forum suggested that maybe what I'm currently percieving as being stuck at the second theme is just part of my compositional process. I never thought of that, but with the frequency and diversity of pieces in which it occurs, it wouldn't surprise me if it is. Sometimes it's only a few hours, sometimes it's weeks, but I often do get stuck at the second theme. Likewise, another point where I often get stuck is early on in the recapitulation, more specifically, the transition, probably for a similar reason to why I get stuck at the Second Theme. So why is it the Second Theme where I get stuck and not say midway through the Development? Is it just my compositional process? Is it boredom or overthinking(this I doubt though because it isn't like composing and music is all that I do)?
  9. Mine as well. I find it helps to go in with a plan. When you wrote it, did you already have an idea where you were going to end up with the recap? For example, if you already knew what you wanted Rehearsal J to sound like (or at least had a general idea), and you already knew what the end of the exposition sounds like, that would help you plan how to get from A to B. I like the way you did it. I think it ends better with the A theme than it would have with the B theme.
  10. Yes, you are probably right. I don't play a wind instrument, so it's always helpful for me to get insights like this. Thanks 🙂 Amazing idea that I would not have even considered if you hadn't mentioned it. I actually tend to do this rhythmic change-up fairly often in 3/4, so this is a useful tip for me. I've even been experimenting with layering 3/4 and 6/8 rhythms on top of each other in more contemporary-sounding pieces. It's a bit of new material for sure, though the flute is playing a slow, D minor version of the main theme during this bit. The orchestration just sounded a bit thin to me there, so I added in the clarinet as counterpoint. You may have noticed that I'm pretty poor at creating development sections in general. It's always been my Achilles heel. As for the 'BA' recapitulation, I can only say that I wanted to end the piece with that particular restatement of the main theme. I thought about having it be a sort of ABA recapitulation, with a full restatement of the main theme after the development section, but I thought that might be... overdoing it. Thank you for all of your compliments! I am glad you liked certain aspects of the piece, and you've certainly given me some things to think about. @gmm
  11. Yesterday
  12. The ending of the first one was amazing!
  13. You're doing the right thing here: trusting your gut! There's no correct answer to your question, though. Take a break and listen to some of your favorite music (or be adventurous and try something new)... I guarantee an idea will come to you eventually. The main thing is not to force anything, and it sounds like you recognize a forced variation when you hear it. That's good news! Keep at it, and don't be afraid to scrap everything and start afresh. Sometimes I'm amazed at how themes I've trashed have found their way back into my musical tapestry. 😉
  14. And your feelings are understandable. I believe peter Joseph is due to release his new film. It is eagerly anticipated
  15. Thank you, too. For me all these ideas by the project much more important than my music because these ideas about the future of humanity. To be more exact, about optimistic about the future of humanity. I just couldn't stay out of it. This is really the best thing I know at the moment. I just wanted to somehow support it as much as I could.
  16. Excuse me, so I misunderstood you. Anyway, of course I'll keep making music.
  17. After creating a simple 8-bar period or sentence format What is the next step? Repeating the same 8 measures again seems to sound monotome To create some variation I tried to apply the techniques of melodic development, such as inversion, retrograde, ornamentation, augmentation or diminution, and when applying these techniques in the theme of 8 measures, the new material generated was very strange, without logic and without feeling any tips on how to elaborate the same theme again without it getting weird or too repetitive?
  18. Hi Noah, thanks for sharing your piece. I really liked the opening with the tremolo violins above the horn melody, it kind has a "Blue Danube Waltz" feel to it. One thing I noticed is you have the trumpets entering at Rehearsal B on a high concert Bb. I would think the trumpets would completely dominate the orchestra in this register, I'm not sure if that was the intention after the preceding quiet section. Also in the section you have the Flutes and Oboes on repeated staccato notes, I wonder what it would sound like if instead of repeated notes they were playing a staccato arpeggiated figure. I think this might add a little "flair" to the winds in this section. I noticed you like to bounce between a 6/8 and 3/4 feel at several points throughout this piece, which is a really neat effect. From a notation standpoint, it would help if you grouped the note stems to make this easier for the performers to realize. For example, at Rehearsal D, group the first two measures as a 6/8 feel, then return to 3/4 for the next few bars that have the "triple" feel. You don't need to actually change the time signature, but group the notes so the rhythmic "feel" is more obvious to the performer. I wondered if I could also ask you about the form you used. From what I can tell you use AB, repeat AB, development, BA. I was curious how you came up with the structure of the development (starting at Rehearsal G and ending at Rehearsal J). I can find references to the original themes, but some things seem kind of random. For example, the Bb clarinet part 5 measures after Rehearsal H - is this derived from some of the earlier themes, or is it new material? If this is something I'm just missing please feel free to point it out. Also, was there any reason you chose to recap theme B (starting at Rehearsal J) before you recap theme A (Rehearsal L)? Not that there is anything wrong with doing this, just curious why you decided to flip them in the recap. Btw, I liked your decision to restate theme B in the low strings and bassoons at Rehearsal J, and I liked how the timpani adds to the "bounciness" of the "triple" rhythmic feel here. Thanks again for sharing!
  19. Thanks you're right, I gave one more attempt at something more melodically connected https://www.noteflight.com/scores/view/9c7a02fc7b8ff82fc5bea3d5977ba55de8600456 I tried to put 2 repeat endings 1 ending with just 2 cs but noteflight wont allow me
  20. Well I'm sorry to have offended you Quinn. I feel no obligation to explain my apparent "lack" of interest in other's work however be assured that I support artists here in less obvious ways, I go straight to their streaming platforms and follow them there and regularly listen to them because I enjoy their creations. I will comment on places like soundcloud etc. Although i genuinely feel that as an amateur Composer myself I have very little to offer to other people in terms of good advice. This is not meant to adjust your opinion in any way, just food for thought. I too wish you every success and please send me links to your streaming platforms too if any are available! Thanks again for your comment.
  21. Thank you very much for the time and thought you spent in your comments. I checked out the link you provided to learn about the prinner and other schema. This information will help me compose better in the galant style. I really appreciate you spending time to illustrate your point with the alterations to the main theme, thank you.
  22. I like to give freedom, but if someone is going to send me one variation that person can't change the core idea too much. The basic melody is C-B-F-E for the first 4 measures and if you change the order then you lose a little bit of the essence of the piece. You can eventually change a lot the initial idea but then you have to show its evolution. And I think the Ab is important because it is the nota that makes that tune more unique. There I'm using a Ab maj7 (#5) in first inversion, which isn't common in music of the classical period. Write your variation if you wish, I can give you some feedback after you show it to me. Also, you can change the bass as long as you don't change key harmonic functions or that weird Ab. For example you could write I-vii°-vii°-vi because the vii° has the same function as V7 and you can do a broken cadence instead of a perfect one (V-vi instead of V-I). As long as the bass/accompaniment follows the right harmony it is fine. Of course you can make evolve the harmony until it is totally diferent but I wouldn't do that for the first variation.
  23. This is an updated version of a concert overture I wrote in CPE style (mostly Classical Era style, with a bit of Romantic flair, and an ending that veers wildly into other territory) a few years back. I fixed a few mistakes in the score and added a better sound file. All comments and criticisms are welcome! I hope you enjoy it. Thanks for listening.
  24. @Ivan1791 Hi If you mount a challenge based on the variation concept you should admit any possibilities. Do you pretend to keep what happens in both hands for a variation? I thought of writing my own one, but I'm afraid it would totally be out of context. Why do you say that Ab is important? Interestingly it's the most dissonant spot...
  25. You changed the melodic contour of the main melody too much. I recommend you studying a little bit Beethoven's Diabelli variations and you will see how he creates music from a very simple idea. Mozart's variations are very clear. To compose a good variation you don't only have to take into account the harmony, the melody is more important. Anyway I'm happy to see people is trying it.
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