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  2. Alex Weidmann
    Thanks! This was the neoclassical piece that inspired me:
  3. Today
  4. Bryan Milstead started following Free, Remote, Nonprofit Music-Related Opportunity for High Schoolers! 🎶 ✨
  5. Bryan Milstead
    Hello, community members of Young Composers! Discussion Question: For those of you who are newer to music and its wonderful benefits, why did you choose to enter the world of music? If you are a more seasoned musician, what does your instrument mean to you? How has music helped you holistically? Hopefully, you believe in the power of music to bring together communities and create meaningful change. That is why I speak on behalf of Musical Memories, an international nonprofit dedicated to providing students with an exciting and engaging way to develop their skills in the world of music. We have chapters all across the US and in countries like Hong Kong, where members facilitate interactive activities and performances. 🎻 🎸 However, we also have an online internship program for high school students those who have a deep passion for music and want to explore its intersections with leadership, communication, and creativity! Musical Memories' internships are specialized, exciting opportunities to 1) earn leadership hours, 2) boost resumes, and 3) gain real-world experience in the fields of digital communication, event coordination, and/or graphic design. 🔊 Interns should be high school students dedicated to cultivating meaningful music experiences for others, and have a passion for music. Even if you have little to no leadership experience, this is still an amazing opportunity for you to gain some! 💫 For intern-specific roles, skills, and application guidelines, please visit the following form: https://docs.google.com/forms/d/e/1FAIpQLScBjg7zuFp6Ct0t1sG1lKIaRAgrn_2QtAv8_G6N0LejCPsaPg/viewform The form is FREE and open to high schoolers grades 9-12! With regards to a location, the internship is remote meaning you can complete all related tasks from the comfort of your home. 🙂 Please don't hesitate to sign up -- If you have any questions, feel free to reach out! Cheers to the power of music 🎊
  6. VanoVano
    VanoVano joined the community
  7. RochaTipoPedra started following "Miniatures from The Epic of Gilgamesh" - Trombone Quartet
  8. RochaTipoPedra
    So here is a piece for trombone quartet that i just finished writing. It is a compilation of some moments in the epic poem The Epic of Gilgamesh and it is my submission for a competition. I would like some opinion and, if there is some error, either in notation or in other aspect, i would appreciate the notice very much. Hope you like the piece.
  9. Henry Ng Tsz Kiu
    Hi @Tunndy, Just beware of the parallel 8ves like those in b.1 between violin and viola (A-G), b.2 (F-G and F#-G!). And those dissonance of minor 2nds like in b.5 wouldn’t sound good as well. Henry
  10. Henry Ng Tsz Kiu started following A Christmas Mash-up , My first attempt at a three voice counterpoint , Prelude No.16 in Bb Minor 'Masquerade' and 2 others
  11. Henry Ng Tsz Kiu
    Hey Jonathon @ComposaBoi, I would have commented earlier if not 1) for my consistent illness 2) The tragic HK fire. Very passionate playing and forget all those wrong notes, as the power really reaches me. I will just take note from start to end. The whole first D Major section sounds like a Barcarolle to me with the dominant pedal, and b.3 and b.5 flourishing sounds like Hisashi to me with the dreamy mood. For the b.21 section with that agitato mood I won’t write Lento on it with 32nd notes. I may just augment on the notes by 2 and put an allegro agitato there. Like the solemn and furious F minor theme. I actually find the 2nd subject too short and the triumph arriving too early, and then the breakdown to D minor too early. I love the key changing in your development (for example to C minor), but I do think that left hand triplets motive can be used less frequently, since it sounds a bit predictable at the end for me. I like the Ab major section but again I think you can augment the note value and put an Allegro there. Like that you bring the triumph of the 2nd subject before the fugato. I feel like the fugato here not developed enough just like the fugato in my Nocturne lol. And basically that triplets motive dominates the whole development and maybe you can use a different subject? I really like the Grave Mystico (or Misterioso?) passage with the higher register melody, contrasting the middle to low register used mostly in the piece. I only feel the D Major ending unsatisfied since it’s really unrelated to what happen between. But maybe it’s right here with later movements. Thx for sharing. Henry
  12. Henry Ng Tsz Kiu
    Hey Pabio @Fugax Contrapunctus, I really enjoy this older style counterpoint. The subject strongly reminds me of the first subject of Contapunctu XIV in Bach’s Die Kunst der Fuge. May this piece also dedicated to the victims of the Hong Kong fire recently happened. Henry
  13. Henry Ng Tsz Kiu
    Hi Peter, Really enjoy this one and it sounds especially calm when it’s much needed. Like Mike noted the two Melodies sound so well together just like any good counterpoint. Adding those flats near the end of each phrase really helps push the climax. Thx for sharing. Henry
  14. Kvothe
    Hello @J. Lee Graham: First, let address the technical issues. In the first movement, you have the viola jump from the jump positions a lot. This is technically hard for the player. You have E# in 3rd pos to 1st pos. It could easier, if this was you kept on the same pos. On a similar note, you can use the treble cleft when notes go to IV. It is easier to read without the legar lines. On the overall form, it does fit, with in the era you want to write for. Great job.
  15. frush started following MOVEMENTS for ensemble (first post in a long while!)
  16. frush
    This is super cool! I really like the first movement, It could be in a movie!
  17. Yesterday
  18. PeterthePapercomPoser started following My first rock/metal type music
  19. Henry Ng Tsz Kiu
    Henry Ng Tsz Kiu changed their profile photo
  20. Wieland Handke
    I would enjoy to participate in this event, too. I hope that I can accomplish my contribution within the next two weeks. Looking forward for listening and reviewing the contributions of other participants
  21. TristanTheTristan

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  22. TristanTheTristan

    Hello Tristan. Bye Tristan.

  23. TristanTheTristan

    Hi!

    1. PeterthePapercomPoser

      PeterthePapercomPoser

      Hello!  How is your existence existing today?

  24. TristanTheTristan
    I also might not be able to complete it by the deadlines... Guess I will do the same as you.
  25. frush
    This is a very cool piece! As a woodwind player i like all of the runs, one thing is that the first clarinet part is so high it’d be hard to play all those notes accurately so i’d recommend replacing it with Eb clarinet where it’s in a better range!
  26. EmotionallyChargedMusic
    I found the soundtrack cd of my old red alert 2 and have been captivated by it and have been listening to it for the last few weeks. And so I decided to make a similar music with some synths and overdriven guitars
  27. Mooravioli
    hello peter, I am interested in joining as well
  28. Vasilis Michael
    Dear friend, thank you so much for taking the time to comment on my sonata, and thank you as well for your appreciation and for liking it so much. It was my greatest challenge so far to write a large classical sonata, and I’m incredibly happy that I managed to do it — and most importantly, that people who have heard it enjoyed it. The truth is, when I compose I don’t really think much about which modulations I’ll use; the nature of the piece and the themes themselves somehow guide you, helping everything flow naturally. It’s something truly inexplicable and magical. I worked quite a lot on all the movements, and I’m extremely fond of the minuet and trio — especially the trio, which I believe is, both technically and musically, the best thing I’ve ever written. It’s as if an invisible musical force helped me create it the way I did. At the moment I’m taking a long break from composing because I had become a bit exhausted, and I need some time to recharge before starting up again. Of course, it’s also a matter of limited time. The programm I use for the score is dorico 5 elements. I'm still learning it . Is very user friendly I recommend it. As for a piano concerto, I would love to write one — it would be a dream. It’s my favorite genre. I haven’t planned to start one yet, but maybe I’ll attempt it in the future. Once again, thank you for your kind words.
  29. EmotionallyChargedMusic
    inspired by Adrian Von Ziegler check him out my fav Celtic artist
  30. Fruit hunter
    That’s true with the first clarinet part there’s sometimes where it gets very high. If I remembered correctly, I added some optional lower octave material just in case if that gets too much for them.
  31. Vonias
    "Jesus was Born this Day," is a hymnal song that includes, Euouae. Haven't heard the amen since the medieval times, thought I'd bring it back to present. The chords are adventurous and don't make much sense. However, this was the palette that I wanted for artificial intelligence to include. AI, did pick up the tune very well, except for the Euouae that was wanted for Descant. Anyone know how to do that in a prompt for AI? I'm out of ideas, I even used the braille's "In accord," to get AI to pick up the command. Other than that, the chorus was botched to good effect, read as the melody after a vowel chant. In effect, AI made a new chorus. Overall, the song is represented well, and I am happy with that. Enjoy! Jesus Was Born this Day_Harper.mid
  32. Crescent Roulade
    yeah :D
  33. Crescent Roulade
    Crescent Roulade joined the community
  34. Fugax Contrapunctus
    And I thought those low D-sharps on the basses were far too excessive! I couldn't even bring myself to sing below a very awkward-sounding E despite technically being a baritone. I wonder how potent of a voice a deep bass singer must have for such a B-flat to be remotely audible as pitch instead of pure vibration. To me, such extended ranges seem far more extreme than the usual alto-contralto range, which I believed is usually cited to reach down to an F below the staff. In any case, the concern is understandable. This fugue was originally set for D minor, as much of a nod to Mozart's heavy association of death with this particular key as a matter of convenience in order to adhere to the standard ranges for vocal music, which as we know often tend to require more conservative estimates in choral settings. Unfortunately the digital choir soundbanks I'm using struggled far more just a semitone above in certain passages, with certain octave leaps in the tenor part sounding especially screechy, so in the end I was forced to choose the lesser flaw and thus had to resort to lowering the whole piece to its current key. I hesitate to even call it a double fugue, as what might appear as the 2nd subject is in fact merely derived from the first, and I certainly would not dare label it a triple fugue, despite the relatively minor changes undergone by the subject that would normally not be explained by a conventional tonal answer. The stretto treatment is undergone first by what could be considered the 2nd subject following its own development section, and only then does the stretto for the original subject come about, thus helping cement an overarching ABA' superstructure that unifies the piece as a whole beyond mere exposition, development, stretti and codae in cycling motion. As for the Christmas Music Event, perhaps I might be able to submit a proper piece before the deadline. As of lately I've been considering a 5-part motet rendering of "O Magnum Mysterium", though I may consider other related texts to the same effect. In any case, I'll let you know in the dedicated thread if I manage to finish anything suitable in time. Thank you for your review!
  35. PeterthePapercomPoser
    Hi again @Fugax Contrapunctus! Isn't it wonderful that human voices don't have particular set-in-stone range limitations? I'm working on a Christmas piece right now that requires the Basses to go down to a Bb below the staff so I'm probably going to have to transpose the whole piece up a step so the lowest note is a much more manageable C. You have the Altos in this going down to an F# below the staff which I think is manageable despite the commonly regarded lowest note for them being a G. I love the treatment of the fugue subject and the tempo changes here! Is this technically a double or triple fugue? Or perhaps a series of fugues, with a stretto treatment towards the end? Thanks for sharing! Will you be participating the in the Christmas Music Event?
  36. PeterthePapercomPoser
    Hello @TheGreatEscaper and welcome to the forum! I love this Mazurka-like prelude you've written! It has so much individuality and character! It reminds me at different points of both Chopin and Prokofiev. The chromaticism is very dark and ominous. The fact that you play your own works is great as well (and apparently you've already played @ComposaBoi's sonata as well! Great job and it's great to see this kind of interaction! You're an asset to the forum!) Formally the piece is a perfect little miniature. The melody sounds like something out of another world when it comes in on the 7th and 11th of the tonality - it's very subversive and surprising harmonically and anything but ordinary. And the accompaniment is like its own melody too that sets the stage for a very ghastly piece that would've been appropriate as a Halloween-themed piece. Thank you for joining us and for sharing this prelude and I look forward to listening to the others! P.S.: Thank you for posting just one piece into the forum to let the reviewers get just a taste of perhaps one of your better pieces instead of suddenly bombarding the forum with a bunch of music indiscriminately! You don't know how many composers do this and it really annoys the people who commonly review others' works here because we don't know which piece to listen to and it turns the forum into a dumping ground for works.
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