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🍎 𝐂𝐀𝐍 𝐂𝐀𝐍 | 𝟎𝟎𝟕 𝐒𝐇𝐀𝐊𝐄𝐍 𝐧𝐨𝐭 𝐒𝐓𝐈𝐑𝐑𝐄𝐃 A touch of JAMES BOND...................can you recognize where it Starts ? CAN CAN 007 SHAKEN not STIRRED.mp3 CAN CAN 007 SHAKEN not STIRRED.mid CAN CAN 007 SHAKEN not STIRRED.pdf

duuudee i just read about this on a book as well and i already fumbled on this piece lmao. but yeah, i also agree, the accompaniment patterns are monotonous and definitely one of the primary subjects of revision!!! need some punctuation and need to highlight the peak of phrases more often thanks for the feedbacks @Henry Ng Tsz Kiu !!!!!!!!!!!!!!

@Luis Hernández Thank you for listening! Yes! that was the general idea. I wanted the piece to begin with a clear classical language and gradually become destabilized by something outside of that system. This is reflected mostly in the larger architectural decisions, but also through smaller stylistic choices. It's interesting that you heard the second section as pre-baroque. That wasn't my conscious intention, but I can definitely see why it comes across that way!

A very interesting piece. Although I don’t quite grasp the idea. I’m not sure if you mean that it begins with a movement that sounds very classical and then takes a few twists and turns. The second part seems to take a stylistic step back, as it sounds pre-Baroque with unadorned lines and a modal sound (perhaps Dorian F).

Hi! First of all, before anything else, I want to say how amazing this forum has been for me and how friendly and helpful the community is. This is the only place where I truly feel I'm getting the kind of feedback that helps me grow as a composer. Thank you all for that! Now for the music. I wrote a piece that explores the idea of Classical clarity being gradually corrupted by an unknown force. As the music unfolds, the familiar structure and stability slowly break apart, transforming into something different. There are a lot of little details and ideas I tried to communicate through this piece, and for the last few weeks I don't think I've gone an hour without thinking about it. Naturally, I feel very connected to it, and I'd genuinely love to hear your thoughts and feedback. YouTube link Score Movements: 0:00 Allegretto 1:44 Adagio 3:28 Andantino Corrupted Sonatina.mp3 Corrupted Sonatina.pdf

I have a few ideas, so I'll write them down. 1 - Groover: I like the sound of the word 'Groover'! Although there are some rhythm-related badges already, it would be cool to have one specifically awarded to creators of tracks with that groove, like in jazz-fusion or funk. It would be fun to hear more groovy tracks on this forum. 2 - Meticulous Composer: Literally, a badge awarded to those who submit a piece where every element, such as DAW playback, performance articulation, and panning, has been meticulously crafted. 3 - Gentleman: This is a bit different from music. However, I think kind members are important to the community. So, it would be great if someone who has been treated kindly gave something back to that person. 4 - Synthesizer Master: To everyone creating amazing sounds with synthesizers! An icon resembling a small Moog synthesizer might be a good idea, something that’s instantly recognizable as a synth. 5 - Mixing Master: To the creator of a track with amazing mixing! 6 - Stimulator: This badge is for creators who spark inspiration in others, whether a track sparked a new idea or motivated someone to start creating. It’s awarded to those who serve as a great source of inspiration for the community members. By the way, how about introducing a system where members can anonymously nominate someone for a badge by simply providing their username (the person you want to give it to, with an @ symbol) and the reason? I imagine some people might want to award a badge but feel a bit too shy to post in the "Award Request Thread." It’s a shame that such great badges exist but aren't being used very much! Best, Lithl.

Hello @UncleRed99 The slow, rich underlaying brass lines provide rich harmonic counterpoint to the trumpet tap part. It so somber, yet so bittersweet. I can imagine this being played when they lower solider down in his grave. So sad but needed at the correct moment. Sometimes, music is there to remind that death is always tragic, but it brings a peaceful closure to one's man heroic journey.

hi...... do you mean this kind of style ?

I am a librettist of many years standing (I also taught literary topics in universities). Recently I have written a libretto for a comic opera based on 'Kind Hearts and Coronets'. This would require music of pastiche Sullivan-Offenbach type but also includes some serious arias fit for bel canto treatments. I would be glad to hear of any interested composers.

Excellent ..................You Cannot improve on "Perfection"...............no alteration needed,or required

For those who don’t speak French: “Dear fellow composers, this message serves as an official declaration of my participation. I am delighted that my theme was selected as the winner. I'm sure you'll all love this French poem and I can't wait to discover the music you're going to compose!”

My intent is to participate, however, I can make no guarantees. But for now, consider me an entrant to the event :)

I think I posted this one in the past, however, whether I did or not doesn’t matter… lol I wrote this arrangement something like 2 years ago. At that time, after having decided to revisit it, I believe I wasn’t all that great with harmonies. I’ve decided to re-voice the chords in this score, and have utilized some of my new playback sounds to create a much better listening experience with this one. Let me know what yall think. I believe I’ve been able to embody the patriotism, and somber nature of what the bugle call Taps was written for. taps.mp3 taps.pdf

Thank so much for your input @Luis Hernández. I wanted to step out my comfort range (solo piano writing and string writing) and writing for three different instruments. Boy, this was sheer challenge. I understand what you mean. I think you implying there is unbalance of timbres between piccolo, viola, and the harp. :(

Hello I’m going to give my opinion on a few points, but without awarding a score. Firstly, the choice of the piccolo is a bit odd. Much of the part written for it could be played on a conventional flute. At certain points, however, this isn’t possible. One advantage of the piccolo is that, in the higher registers, it can be played less loudly than the flute. Although the dynamic markings are a bit sparse. One thing I don’t like is that the flute and viola play in octaves… two or three octaves apart. This creates a rather large and constant gap in between. Although at times it is ‘filled in’ with a note from the harp. The viola is also a bit odd because much of its part is in treble clef, which seems more appropriate for a violin. Writing for the harp isn’t easy either. Once the issue of whether pedal changes are feasible has been resolved (something I haven’t analysed), the problem is that it doesn’t seem very idiomatic for the left hand to be arpeggiating all the time. It’s an ostinato that already creates monotony. The range of the chords in each hand at that speed strikes me as far too wide; I’d limit it to an octave (for example, bar 23). I also find what happens in section B a bit complicated, where one whole hand is occupied and the other is too, doing different things. As for whether it captures the spirit of the piece, I won’t comment on that because it seems so subjective to me that I can’t really judge… I believe that a chamber piece of this style requires careful attention to dynamics, accents and balance. Best regards.

When it comes writing, I like to write from structural point of view. Think analyical as I write (melodic form, hamorny, musical form, counterpoint, etc). That way, I can try to a cohesive composition. The recent piece I wrote I went through and looked for motive i could use for ending section. :)

Hi to all 😀 This work is loosely connected to my last post "Chills". As I wrote the piano version of that piece, it brought to mind the style of Charles Koechlin. So it seemed fitting to make an orchestration of one of his lovely piano miniatures. I wonder how many of you have never heard of him? (I hadn't until recently!) I've posted two versions below: 14 has a different woodwind arrangement of the opening passage, and a percussive hit added in Bar 8. I wonder which you think is best? As usual it's a rough score, intended for midi only. I haven't got round to adding slurs, and the 1st Violin passages would probably make more sense if I split them across 2nd Violins and Violas. The original piano piece can be found in the You Tube link below. Koechlin - Roses Au Soleil De Midi #14.mp3Koechlin - Roses Au Soleil De Midi #11.mp3 Koechlin - Roses Au Soleil De Midi #14.pdf Koechlin - Roses Au Soleil De Midi #12.pdf

My pleasure! Glad to help out. :)

Why hello everyone! I think I am early to the party. :) Below you will find my entry to competition. Summer's Day: YC Summer competition - Chamber Music - Young Composers Music Forum

I really liked the replies and I couldn’t agree more. The ultimate purpose of music, as has been pointed out, is, I believe, to evoke emotions, whatever they may be. And taking it to extremes, whether one relies solely on inspiration or bases everything on theoretical and technical considerations, the result will be ineffective. I don’t think there’s a single composer, including in pop music, who has achieved any real success by relying predominantly on one or the other. Many pop musicians don’t have much technical training, but they have teams behind them who make up for all that. Relying solely on inspiration and intuition is like a surgeon who operates with great talent but knows nothing of anatomy. Conversely, an anatomist cannot operate on the basis of theoretical knowledge alone. These are inseparable aspects for any composer of even the most basic calibre. And as has also been said, ultimately it becomes a naturally interwoven process. The idea, the inspiration, can come from a great many sources, but technical knowledge allows you to greatly improve the result in every respect. I also believe that, nowadays, many composers are eclectic and draw on elements from various musical languages, depending on what they think will work best for what they wish to express. I don’t know – the broader the range of resources, the more varied and better the results can be. It’s like being a chef with 10 ingredients or with 100.

Hello everyone, I humble present to you my entry for the YC summer competition. The competition was centered around this poem: Donc, ce sera par un clair jour d'été | Song Texts,… | Oxford Song. To me, when I read this song, I imagine a harp, piccolo, and harp playing together. The images that came to my mind were flowing classical melodic themes mixed in pentatonic moments. I try to capture the mood and aura of the piece the best I can. I hope you enjoy it. Summer's Day.mp3 Summer's day pdf.pdf

Thanks Mark. I still have a lot to learn about the oboe. (Not to mention all the other orchestral instruments!) Hopefully I'll improve over time.

@Henry Ng Tsz Kiu Thank you for all the insightful feedback! Definitely agree modulation could be cleaner especially and some small mistakes with voice leadings all around. Still am very new to writing long form , but am currently working on my second sonatina and I am kind proud of it so far haha Really looking forward to hear what you think of it! Especially since I felt a lot braver than my first work so i took more risks which I'm sure will also result in more things that can and will go wrong haha. Once again , appreciate your feedback! @Kvothe Appreciate the feedback! Definitely agree with overall comments. I think a lot of issues that are apparent here are being solved in my next work which i hope to finish in the upcoming weeks!

Alex 2 points: I assume your sore is in C. To transpose from English Horn in F to Oboe is a 5th up. If you review your English horn part that would put the Oboe in the mid-range. Secondly, you have the English horn play G above the staff ... not a low note. As per the Oboe and the problems with low notes ... which I would consider to be anything below a C#/Db you are correct. The amateurs and some semi-pro players might have difficulty attacking the notes with confidence and producing an initial soft attack and pleasant tone too. Personally, I practice daily producing soft attacks on the lower notes and I test my (handmade) reeds on such an attack. So much skill: air support, embouchure, coordination (tongue, breath, fingers) all impact on the low notes. So you I guess you have to know your players experience level. Now having said this .... I really don't like composers who do not appreciate and who write melodic lines etc. for Oboe without understanding the skill level needed and/or the context written for those low low low notes. Oboe is a challenging instrument ... one you both love and hate at times! And don't let me start on the reeds .............................. Mark

I see you've encountered the annoying bug, where MuseScore duplicates the tempo directions, and propagates them down through the score for no obvious reason. You can get rid of these by selecting each tempo element in the Layout side-pane, and hitting delete. (You'll find them sandwiched between the instruments.) As to the music, it's a lovely piece, and I enjoyed listening; but I think your rendition could be improved. At Bar 50 (for example), you have crotchets in the strings interspersed with quaver rests. These sound very unnatural, because the sound cuts out too abruptly. I'd be inclined to make these dotted crotchets, and add diminuendo hairpins below each one to taper off the note. Then reset the dynamics on the next note. Your staccato tenutos on the strings around Bar 38 have a similar problematic effect: so I would lose those. Hope that helps, Alex.