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  2. It's nice, sounding like a neo-baroque style. I'm sure it'll be much better live, there are not dynamics in the score (nor playback).
  3. After having gone though lots of forum threads, I came to the conclusion that there is a need for clarification on which are the main elements we, composers and music analysts, consider foundational of music itself. Gisela Paterno succeeds in explaining the tight relationship between composition and musical analysis. I believe her ast article about the role of these main five elements deserves our attention https://www.piano-composer-teacher-london.co.uk/post/the-five-contributing-elements-in-musical-analysis-melody-harmony-rhythm-sound-and-growth We are looking forward to receiving your comments and answer them back. Let the discussion begin 🙂
  4. I'm not new in atonality but I never have written anything for orchestra in this style. Just to learn, I'm trying to orchestrate Schönberg's six Little Piano Pieces. They're short and good to try. This is nº 2 (although I've always thought it is in a sort of "extended" G major). What do you think? The piece is mostly "quiet" and it is not easy to give voice to the whole orchestra in less than a minute.
  5. Gisela Paterno shares these four techniques for continuing with your musical stream of thought after a thematic statement. https://www.piano-composer-teacher-london.co.uk/post/the-four-options-of-continuation-in-musical-composition I believe this article can be of great use for a young composer seeking to oranise o structure his or her pieces. The aricle is assertive on explaining these four methods to enable the development of a basic theme. We are looking forward to hear what you think 🙂
  6. I think it's fine in terms of balance.... I agree that doubling clarinets + oboe could be improved with another combination, since they have timbre of the same family.
  7. Today
  8. The announcement of the new movie really inspired me to compose a piece in the production style of early 2000s action-thriller movies like National Treasure and Tomb Raider. Let me know what you guys think!
  9. Recently I decided to compose a Contrabass and Viola duet for me and a friend of mine. Although it isn't very good I found this website and was like "As my first composition on this website I'm going to use the duet. So please review this and leave feedback. Thnx Note: There is a a D.C. al fine but the recording (midi) doesn't do it. Made using Sibelius.
  10. Cool! Why did you decide to do baroque and how did you write it? Just curious as I want to write a baroque sonata
  11. The accompaniment figure is purely textural. Yeah, I can space them out. Probably dont need the clarinets doubling the oboe either.
  12. It's a little busy, don't you think? It's not normally an issue, but your melodies being in similar ranges for some reason sounded strange this time. Lots of small crossed voices. What's the purpose of the instrumentally separated accompaniment figure?
  13. Listen to more pop music. Uses plagal cadences all the time. Obilque motion helps.
  14. Agreed. Especially the purpose and standard nature of the semitones within the collection.
  15. This is actually quite nice. I think you got it. Study up on blues structure to get a better vibe for it -but I think you're on the right track!
  16. So, I was in youtube an then a video pop up, it was called "blues scale", and I inmediatly fell in love with that scale. So I wanted to compose something with a bluesy fell. Did I got it?. It is no finished, this 10 measures were composed in around 10 minutes. Any comments are apreciated.
  17. So, one thing I like to do to strengthen skill sets is mess around and just create things that focus on whatever it is that I'm wanting to strengthen in my writing. This particular beginning is focused on orchestration. I've got the winds interlocked in the tutti chords (tonic: d minor). Following these, I bring celli, bass, 2nd violins, and viola in with an accompaniment pattern (doubled with bassoon). Clarinet and Oboe share a resonant countermelody as the flute and violins present the initial theme. Horns, in this example, add punctuation to the rhythmic motif found in the celli.
  18. The plagal "cadence" is best understood as a post-cadencial process, it is often used to confirm a tonic that has been already clarified by another strong cadence, like a perfect cadence of V i. So, a plagal cadence never will sound as convincing as a authentic cadence, or autenthic perfect cadence. Try to emphasize the Tonic of the IV going to the Third of the I, since it functions as a weaker leading tone. The plagal cadence has a softer sound that the PAC, but if you want to make it more convincing you could add the augmented 4th, but, there not be point of using the PC if you do that.
  19. Out of all the cadences to the tonic, I find them to be convincing in this order when I write just the cadence: PAC and Leading Tone IAC equally convincing Root position IAC Inverted IAC with the dominant inverted Inverted IAC with the tonic inverted Inverted IAC with both the dominant and tonic inverted Plagal Cadence The Plagal Cadence is so unconvincing on its own that it doesn't even sound like a cadence, but rather the middle of a harmonic cycle, like a cadence preparation rather than the actual cadence. The nocturne I am writing for piano sextet(string quintet + piano), I am thinking of possibly ending with a Plagal Cadence, given that there is a lot of subdominant emphasis in the nocturne. Ending with a Plagal Cadence would match up with that preexisting subdominant emphasis that is throughout the nocturne. But, no matter what inversion I have the subdominant in, I just can't seem to get a convincing Plagal Cadence. First inversion subdominant seems to be the most convincing, but only by a margin(Root position subdominant sounds more like a circle of fifths modulation to my ears). Am I doing something wrong? Is there a chord I am supposed to put before the subdominant to make a convincing Plagal Cadence? Or is it just so ingrained into me that V, V7 and vii°7 are cadential chords and IV is not, that my brain just isn't accepting the sound of a Plagal Cadence as being a true cadence but more like a cadence preparation? It gets even less convincing with the minor subdominant(Minor subdominant hints to me at a modulation to a minor key about to occur when the piece has been in a major key), but I have the problem of an unconvincing Plagal Cadence even when both the tonic and subdominant are major(which is like the most convincing you can get with just the subdominant and tonic). Would using the subdominant of the subdominant, making it a Double Plagal Cadence make the cadence any more convincing? In the case of my nocturne, that would mean this chord progression: A -> E -> B I really am thinking of ending my nocturne with a Plagal Cadence to match up with the subdominant emphasis that occurs throughout the piece, but I just can't seem to make it sound convincingly cadential. Any advice for me as to how to make a Plagal Cadence sound convincing?
  20. @Locrian7th Thank you brother! Currently it only has strings, but I want to see if I could also write some low brass and some woodwinds to spice it up, although, I've never really had any success with writing for woodwinds, something I want to practice. My laptops limitations kind of limit the creativity so I try to go for the critically aesthetic parts. I do like the idea of fast woodwinds though, I think overall if I add some pauses in there it would allow for realistic breaths in between, hopefully I could try that, or maybe even just the key alterations of the patterns for unique chord blends.
  21. Hello, This is my sonata for violin in g major in the early italian baroque language. I did a very lazy conitnuo realization.. so please dont mind that 😛 I. Grave II. Allegro III. Adagio IV. Vivace SimenN
  22. Yesterday
  23. I play the cello. We had bassoon, but she went back to her home country Japan. Perhaps I could alter the french horn part to act as the low wind in some cases. Thank you very much for your comment on the wide scoring comment, I will definitely look through the entire score and make sure that I fix instances of that.
  24. Well, I think Spanish is your language, isn't it? But this forum is in English... The piece is very nice, I like there is harmonic variation, although you start with a conventional progression, modulations are interesting.
  25. Is fun how you just started you comment in spanish and then all is in english xd. Yes, I know there could be some variation, but in that time I was just strugling to get a good sounding piece xd, If compose a waltz again I'll take in coun that. Thanks for your comment :3.
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