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  2. The Capital Hearings, a mixed a cappella vocal ensemble based in Washington DC, are delighted to announce our seventh annual Young Composers Competition! Entries are due on Friday July 2, 2021. SUMMARY OF RULES Open to U.S. and Canadian residents ages 18-40 $1,000 prize; no entry fee Works for mixed a cappella vocal ensemble, suitable for 12-14 voices, 2-5 minutes in length Any style or genre permitted; works need not be “classical" Work may not have received a professional / non-academic premiere (see rules PDF) One work per composer Competition
  3. Been taking a break from composing, but mostly because I wanted to arrange a couple of these beauties. I love me some Irish airs from time to time and these are the first three that I have sat down to arrange for the piano for myself. Y'alls can have a listen. The links are down below. And I got the PDF file for the score. 😋 1. Inisheer: https://soundcloud.com/user-563317711/inisheer-inis-oirr-thomas-walsh-mini-piano-arrangement 2. Sheebeg, Sheemore: https://soundcloud.com/user-563317711/sheebeg-sheemore-si-bheag-si-mor-turlough-ocarolan-attributed-mini-piano-arrangement
  4. Thank you Guillem! I am really glad you liked it and enjoyed the harmonies of part B! 🙂
  5. You have some nice ideas here! Two points of improvement would be: 1) You have many triads in 2nd inversion (measures 1, 2, 6, 7, 19...) that don't resolve according to any of the 3 conventional resolutions of common-practice harmony. 2) You have some very exposed tenths in the right hand that most hands won't be able to play as clearly as your playback, I'd probably make the playback play them broken for more realism and so that you are sure that you like the broken sound. Keep on composing!
  6. Wow! It sounds amazing! I'm glad you had it recorded!
  7. Really nice, just as the first one of the set! I particularly love how careful you are with the use of the instruments and with the use of percussion, double basses and cellos for contrasting lighter settings (such as only woodwinds) with bass heavier settings. Really enjoyable!
  8. Yesterday
  9. I have started a discord server! The idea is that all members will get the same materials and we will all work through them on a set course and discuss them as we go. This will prevent gaps in knowledge left by not being able to ask questions (if you're a self taught musician like me). Plus it will be easier to get motivated to do the hard work to become a successful composer if you're part of a group. People pay tens of thousands per year for that same experience but we can create it for free! We start our first book on June 1st, 2021, the book is "20th Century Harmony" by Vincent Persichetti
  10. Gracias Luis! Ahora, en vez de imitar a compositores de hace 150 años, sólo imito a los de have 80 años 😂
  11. That's a lovely menuet. Part A is pretty classical, but B is very colorfull and contrasting, and the more modern based harmony and modulations make the recapitulation on the last 4 measures even more satisfiying. The interplay piano-guitar also very right rythmically. I agree with Luis, nada que añadir o quitar (nothing to add there). Brilliant!
  12. Thanks Jorge! I'm happy you like that. Whenever you want we can continue with some counterpoint exercises 😉 Un saludo!
  13. Thanks @Olov! That's right, I'm also impressed how many things you can do with just a descending or ascending octave on the basse. That's why in baroque era one of the first things composition pupils had to learn was the rule of the octave, before to jump to more elaborated partimento techniques.
  14. Hi @PeterthePapercomPoser, Thanks for your feedback. I'm happy you like that. Tritone you comment is just before an interesting new schema I learnt from the book. It's called Tonification in Descending Triads, meas. 498-500 you can see the local tonic is moving F-Dm- Bb, so descending in thirds. Vl.I is moving 5-4-3 with syncopation, Vl.II 7-1 (leading tone-tonic) and organ 5-1 (dominant-tonic). The Tritone you mention is a continuation of the schema to modulate back to the original tonic F for the repetition on the organ. I tryed some harmonies here and the more convincing to me was the aug.
  15. Last week
  16. This is an interesting topic! A couple of years ago I wrote down some keys and their qualities. I tried playing around with phrases on piano and I had to go back to them for a second opinion. I simply used wrote words like sharp, mild, timid, warm, cold for different major and minor keys. I also checked what church modes works well, in what key, for instance I thought the phrygian mode came across best in C, F and G while Dorian worked best in F and Bb, also B but a little milder. I think there could be some sonic qualities in different keys. You guys were talking about instrume
  17. This is great! I love the adagio movement! I will have to take a look at that book too, seems really inspiring! Nice to see you are keeping up the good work, Guillem!
  18. I am really glad you liked the piece and the harmonies, Luis! Thank you! Muchas gracias!
  19. So beautiful and solemn. Love how the different instrument parts relieve each other. I like the soft harmonic structure with the descending chords
  20. Thanks a lot for the nice comments! I'm glad you thought that the writing was idiomatic. About the modulation, In other works I've worked on, most not posted here on YC, I tend to modulate. The one I can think of was in the post called "Mozart-ian piece for oboe and strings.." etc, which you also kindly commented on, and you can check out the YouTube recording in the bottom of that thread if you haven't already 🙂 In this piece I didn't want to modulate actually, because I wanted it to feel "oriental" I guess, and persian music is more modal than tonal. But as Markus pointed out the Persia
  21. Thanks for listening and commenting. You got a good point there, part 2 may not sound connected that much. I appreciate it!
  22. Thanks for taking time evaluating my music. Nice that you checked the intervals and I'm glad that you find it solemn. I'll probably call it just Kyrie, good point! or Kyrie L'Homme Armé since that's the Cantus Firmus in one of the voices later on. Bless
  23. Hi Peter! I just saw these messages when browsing through my old post, not sure I wasn't notified in the bell icon with any of the forum responses whatsoever? I used to get both emails and bell notifications before. Anyway...Thanks a lot for taking time listening and commenting! The reason for renaissance polyphony is that I studied renaissance polyphony and had written and recorded a choral before, a motet. So I kind of wanted to do the composer's benchmark, writing a kyrie, just once in my lifetime. And I'm also a lutheran christian enjoying the liturgy of the mass, I love the sound of
  24. Thanks a lot for all your help comments and kind remarks. First I was hesitant about releasing the song but when I heard your comments, especially Papagenos about the melody (which I will never forget), I decided to have it recorded. What I realised here was that the oboe-melody that I actually wrote 2013 was so low in register that I could rather had written it for English horn, since it's much easier to keep the intonation in higher register. This wednesday we released it on YouTube. Enjoy:
  25. My 3rd piece and, my first time writing a piece in sonata form (sonatina). Wrote this piece originally as a practice piece to gain some grip in the sonata form. Some constructive criticism would be appreciated. (I have been composing for 6 months)
  26. Wow - great job! I think this is a great achievement for you! Throughout the piece I couldn't wait to hear the next movement - it always stayed interesting! This Harmony, Counterpoint and Partimento book certainly seems to have helped you a lot! Something that jumped out at me (I think because of the melodic tritone) is the 1st Violin part at meas. 501 where I guess you go into an augmented 6th chord treatment? Other than that it was nearly perfect! I think the amount of interplay between the organ and the strings is normal for a Baroque piece (from what little I know of course). Thanks
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