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  1. Today
  2. Depicting things in music

    What are your tips for depicting things such as art in music?
  3. Hail Thee, Festival Day arr. for brass trio and organ

    It's nice to see how to write for the organ. My point of view is a bit different. Without that borrowed chords and the C part especially, this piece would have be boring to me. I don't see trouble in mixing harmonic systems. Eclecticism...
  4. Prelude in C sharp minor

    Thank you Panta rei, Maybe you are right, Always I have the tendence to explode an only tonality, and no modulate, until I've satisfied myself of this tonality
  5. Prelude in C sharp minor

    Nice effort- and brilliant, professional piano playing! The composition is in a typical Rachmaninoff-style. I have only one comment. I would suggest a bit more melodic variation/modulation (maybe in some of the slower sections). In my opinion, there is too much C# minor repetition all the time, which for my ears, becomes a bit monotonous after a while.
  6. Yesterday
  7. Is there a way to notate aleatoric sections of music on sibelius? Maybe I'm missing it, but I can't seem to find anything to bracket or parenthesize the noteheads or draw an arrow after them. Any help on this would be greatly appreciated! - Pat
  8. O magnum mysterium

    Hey Sojar! Loved the counterpoint it was really interesting and fiery! Reminds me a lot of Wolfram Buchenburg's music!
  9. Melodrama No.2 ''We Draaien Door''

    The original version just seemed like it wasn't sounding like it was notated. It's up to you. It looks a little better, but it really does depend on what's accented. It's not at all easy for one percussionist to do it. Like, Reich levels of hard. Leaving it should be fine, or you could add more timbres.
  10. Melodrama No.2 ''We Draaien Door''

    I think I would rather use beams for the legato bowings (so the middle part is not completely correct). But Monarcheon recommended me to do so, but I am not sure if I have done it the way Monarcheon imagined it.
  11. Me And My Baby

    Beautiful song. It was nice overall. One small detail at 1:18: I felt that the C in the bass was unnecessary, but it's not a mandatory change. Also, the accompaniment could vary more.
  12. Sketch No. 246

    It's quite different. I thought for a moment it was a harmony inspired in Stevie Wonder. It's fresh, the bass line very interesting and the piano brings vitality... I love constant harmonies as you refer (M7 chords in this case), they're very open. Nice, nice.....
  13. Ninian's Lilt

    This is a piece written by my grandad, Paul Lawrence and orchestrated by his friend. https://youtu.be/iK1xhrvcmqw
  14. Melodrama No.2 ''We Draaien Door''

    Hi @Maarten Bauer let me use your score for a question: does this notation imply the notes are weak or strong? I have no idea, that's why I ask.
  15. Melodrama No.2 ''We Draaien Door''

    You mean like this? Do you think I should reduce the seperate parts Marimba, Drumset and Percussion to one Percussion part, because there is only one percussionist? Musescore does not allow me to add treble and bass clefs to a percussion part, so I will need this seperate marimba part. However, I have indicated that the percussionist has to switch to marimba. Is this correct: *Naar = to; **Slagwerk = Percussion. When the Marimba is not played, there is no part shown liek you can see in the attached score.
  16. Theme and Four Variations for Quartet of Flutes

    Good job overall. ote that all note names given are in concert pitch. A few things to look at: 0:30: an F# minor root position triad was likely intended here considering what the melody notes are. Also occurs later in the piece 0:36: the high C# should probably resolve to something, though I don't think this change is mandatory. Also, there are other unresolved high notes. 0:48: the F#5 should be an E5 0:56: D3 in the bass doesn't sound nice. Occurs later in the piece. 1:40: You might want to change G#5 to E5 for a nice cadence.
  17. Sketch No. 246

    Not really daily sketches anymore, sadly. I'm hoping to at least on a schedule with them. Anyway, here's one I did today. It's pretty different than what I normally write and the vast majority of them are based on constant structure M7 chords, but with some dominants thrown in there. It's also kind of generic and common sounding but I hope it's nice to listen to!
  18. Overture in A

    I've been stewing on what you two said about questionable dissonances and I must either not be hearing them or I did it on purpose...I've been slowly editing and adding to it too so I'll have another score and recording to add I think
  19. Last week
  20. Profile picture purge?

    It keeps happening over and over...
  21. Rejuvinating Realm

    Ah, this is great advice, I think.
  22. Rejuvinating Realm

    Hm... yes, technically, but have you ever heard a horn section play in unison at ff? It definitely doesn't sound like a woodwind instrument. But you are right though. Upper woodwind registers are normally reserved for very choice situations, I've been taught, otherwise everything after is kind of a dropoff. Edit: Also, horn glissandi are possible as slide jumps, but the maximum actual glissando range is 3/4 tone max, I think.
  23. Rejuvinating Realm

    Thanks for the tip! Even though I've watch horn players, I have severely limited imagination about what it's like to play one. I'll remove the glissandos; they're not essential anyway. It sounds more like a fast bVI-bVII-I to me, due to the horn passing through a Db, which is not in key with the melody and therefore (IMO) suggests harmony rather than melody. You had almost the same change at 0:13, except there the horn didn't play a Db, and therefore it sounded different harmonically. Did you find that less awkward? Maybe you are right. I'll try without that note soon. It's probably excessive. Switch from what? What do you believe the meter to be prior to the first downbeat? I have no answer. In my opinion, the first few beats have no objective tempo; you stumble into the scene at an angle, but soon recover your footing when a persistent duple compound pattern emerges. There's another rhythmic anomaly at 2:56 to 2:57-ish where an entire additional beat is injected. Why did I do that? Because when the sound of it first popped into my mind, I was (and remain) convinced that the irregularity is subtle enough to create interest without bothering, mainly due to how the oboe's rhythm obfuscates the rhythm in that part, but I could be wrong about these things due to having conditioned my ears to them. Nice observation. I think it would not transition nicely to the next part if the trumpet went in agreement with the other harmonic suggestions at that time. Rather, it becomes a sort of suspension into the next section: The next melody begins at that particular note. That also has a vague connection to the established pattern of a section's melody's first note beginning ahead of time, heard at 0:14, 0:38, and 1:10. It doesn't sound weird to me, but again, I will try tweaking it because you suggested there might be something wrong with it. After more listening around and thinking, I've concluded that my woodwinds are probably mixed too loud in general, and that I should re-consider all the softer trumpet parts. But isn't your statement false for horns, which are usually labelled as members of the brass section in modern orchestras, but are a stock member of woodwind quintets and blend very well with woodwinds as far as I can hear in, for example, Ravel's Le Tombeau de Couperin? And what about the upper register of a piccolo or a clarinet?
  24. Melodrama No.2 ''We Draaien Door''

    Okay. I will do the best I can. Thanks again!
  25. Melodrama No.2 ''We Draaien Door''

    That's very strange. I've been told the opposite. Maybe it's a difference in country thing. :D Right. There definitely is an argument to be made about things that can't be heard being played on purpose so that when things drop out, they sound like they've always been there, but I just think you can mark that a little more explicitly in your score, as in make it more obvious. Like, the opening to the Prokofiev Romeo and Juliet Suite No. 2, even in the huge fortissimo chords, there are pianissimo strings playing along... that kind of obvious, if that makes any sense. Ah, that would make sense... that's kind of weird don't you think, lol. If I'm being honest, a really good percussionist should be able to play all the notes by himself, but it's better to not risk it. Out of context of the competition, it just looks a little weird. Sorry, I should have put this under score issues: the problem isn't the marimba itself; the problem is that it has its own staff for virtually no reason. It would look better to have the percussion line break into two staves to play the marimba notes, but not all score notation programs do that. If anything, it might be okay to explicitly write in for your percussion part to switch to the marimba, then hide the marimba staff whenever it's not playing, but it's up to you. I like the idea of the marimba, but unless you're Bruckner, instruments that play a few notes look a little funky. Good luck!
  26. Melodrama No.2 ''We Draaien Door''

    ¡Muchas gracias! Well, I am very grateful to you, because you actually showed me the gate to this musical genre. I am sure that I would not have been able to write this music, when you did not introduce several techniques and genres to me. Sólo quiero decir: ¡gracias!
  27. Coincidence and Fate

    Using harmony by second and seven this (majors and minors) and that scale which is 1 b2 b3 b4 b5 b5 bb7. I find this combination particularly dark
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