All Activity

Nostalgic vibe there. Do you think of the harmony first or melody?

Well, it's no big problem, but sometimes you "drag" your cadences! I'll try to find an example, but making spaghetti sauce right now; maybe in the morning.

Oh, i almost forgot to mention, I'll give credit to @MK_Piano for his idea to throw that E Natural in there in the bigger sections, for more dramatic emphasis on the chord progression there. Marvelous Idea, I thought

Would you be willing to elaborate on this point? (meaning, if you would, explain your thoughts on this, by quoting bar numbers or specific phrases where I could improve upon this idea?)

Now that you mention it, I can see where I got a bit zealous in the writing as it pertains to what the playback sounded like 😅 And since it was a while ago that I actually wrote this score, I didn't change much from how I had it originally. I may go back and rework those sections now that you say that, because I would happen to agree with those notions. Thanks for your feedback Henry! It's always appreciated 🙂

Thank you thank you ❤️ I may post periodic updates as things progress, especially if I find myself lost on where to go. That tends to happen quite often.. lol but since I do this on my down time, It helps to be forced to take breaks from writing, on a consistent basis, so I have to go deaf to what I wrote a few hours ago. That helps come back at it fresh again. But right now, I'm struggling with how to progress the cello section, into a transition towards an A' or B' section again...

I'm ashamed to admit I did the same 🥶 I did read this though, promise 😄 This was actually one of the most interesting pieces you've written to me. I know you've written lots of music where you had to think much harder, or it's magnitude is superior (where them ff variations), but this was cool because you've imposed self-restrictions with the notes and avenues you're allowed to go. I think as you've done these your intentions have become much more clear and refined from what I remember of the others, and representing the abstract is a path you've become really good at. It's kind of serial music, right? Predetermined notes and instruments, but your composing intentions are all your own. I didn't like the ending at first, but as I listened more it felt charming and worked really nicely. Well done, Peter!

In all the years past, the Christmas Event was just an event - not a competition. It was a completely free event with no limitations on ensemble nor duration and no judges, or scoring. The intent was just to channel the spirit of Christmas (or the holidays or winter) in the music in any way the participants saw fit. And there were only two types of badges - participant badges for everyone who submits music and community organizer for whoever bolstered the event through an announcement post and submissions thread. There was never any popular voting or anything like that either. Sure, that's a great idea! Let me know what you think of the Category Definitions in the Competition Reviewing Template that I just added! Thanks for your input!

Try this one...I made the mistake of listening to it before I wrote my Little Heath Rose Variations, refresh my memory of chain suspensions, but dayum, Mozart...

Duh it's good enough lol. Your teacher is awesome, you're awesome... I hope you win!

I remember when you posted this piece while working on it. It's come a long way, congrats on the performance!

Yeah, and I think in general you could apply this throughout. Majestic is the right word, and you capture that so well. Some movement in the chords later on would be good to keep your music driving while remaining at a slower tempo. I really like that moment with the cello at bar 38. The color in your music is wonderful as usual!

Hello there! Before, I had the project in mind of writing 12 piano preludes, and that was just dandy. I don't know how consecutively I'll write more, but a few ideas have lingered lately so I figured I would dabble at it again. Here's a very short one in C, hope you enjoy!

@PeterthePapercomPoser @Thatguy v2.0 Thank you for the replies! By no means did I mean to dissuade the structure you implemented. You cannot conform to everybody and no competition is going to be "fair" for every entry. You will have to find a system that is both fair, and not overly strict. I believe my logos was not as clear as I intended in my previous reply. Two things can be true at once and it is refreshing to see many different musicians advocate for a low-pressure means to simply write music; or share existing creations they feel have merit. At the same time, I do not want to take away from the people who are less experienced trying to throw in their works with professional composers. I do not see it fair if they do. As you hinted for the next possible event to be a Christmas one, with no limit on ensemble size, would it make sense to lump and judge a symphonic orchestra work to a solo sonata with piano accompaniment? Or a digital work to a sacred-vocal work detailing a hymn? This was the basis of my thinking in my OG reply. I simply wonder if there is a mesh between formal and informal. Here was an alternate take on my idea(s): Keep the judging by poll, and limit the votes to categories; as you did. With using a table for review, I wanted to suggest another addition to all the info you provided. You added a table showcasing the scoring system (7-7.9 = Average / Standard ). I meant to suggest adding a diagram that defines the words being used: Taste, Originality, Textures, Score Presentation, etc. Taste - Your personal score from 1-10 Score Presentation - How the score is organized / How easy it is to understand the score from 1-10 Originality - How unique does this score sound from 1-10 Creativity - How well the submitant made and used a theme from 1-10 etc. I thought it to be a good way to avoid confusion of the terms by defining the language you want to use. I do not believe that add-on to take away the fun aspect of this. Thanks again!

Now you know the truth😂

I thought you meant that you have no theory knowledge, like the words, not that you write like that!

I appreciate this kind of comment 😂😂😂

Sound:10/10 Readability:0/10 Rachmaninov Style:9/10 My Mentality after reading the score:-infinity/10

That's the reason I don't post my scores, they are not helpful, if you read my profile description you will understand, thank you Tristan!

WTF!?

I'm glad most people are favoring the fun part of the competition rather than monetary rewards. I think it's best to keep it that way for now, and your divisions would be good to use as the badge rewards instead of what we did. However, since we wanted it to be a poll instead of actual judging this time (it was thrown together pretty quickly), I like the categories we used as easy fun ways to vote. In hindsight, as I voted, I noticed there wasn't any "most fun" category, which yours clearly would have won to me. @PeterthePapercomPoser pointed it out in our discord, and we should've had that category. These are easy ways to improve managed by experience and feedback. With actual judging, your way is the way to move forward imo. More afterthoughts: I like the poll as an alternative to judging, I think both are equally valid. I'm not a fan of seeing who you vote for, but I know I'm in the minority with that. The framework for assigning numbers kind of got out of hand imo, but I'm glad people seemed to have fun with it. It wasn't necessary, but I'm glad it was an aide for people in determining which pieces they liked best. Being up front about WHAT we would be voting for would maybe be better for future poll based competitions.

I just remembered I never actually posted a thread on my Requiem, just the first two movements in a thread on my other mass, Missa Sabrina Fair! If you want to listen, try this: Churchcantor : Community Titles and scroll to bottom. The last movement is unfinished, but all I need to do is transpose a D minor fugue to Bb major, and write a coda/final cadence. Cyclical, as Süssmayr chose to complete Mozart's Requiem. In other words, the Introitus will come back in the end. Actually, that Noteflight link will default to sort by date, just sort by title.

Hello everyone, I posted this piece on the "work in progress section" but after modifying a little bit the form and cleaning it up I felt it was in an advanced state for being there (moderators, please, if possible, delete the other post as it seems I cannot delete it myself. Sorry about the trouble). I composed this inspired by a composition practice exercise based on a post in the Talkclassical forum for writing some neotonal music (Bartok, Stravinsky, etc): Step 1. Write a diatonic melody in a mode missing one note. Step 2. Use a different mode or scale for the harmony. My melody is in C Ionian without F, and the harmony is C ascending melodic minor (C major with Eb, though I ended up using E here and there too). I later added a B section with the melody focusing on the unused note F. The form is ABA'BA. A' is exactly same melody and accompaniment type but with different harmonies, specially in the first chord, that is Major instead of minor. Some of my concerns are: Does the piece and structure work overall? There is lots of repetition but I feel that having the harmony of A' changed helps a lot on the overall flow and making the A and B repetition feel anew. Does the harmony work in general? (There might be some weird spots, specially in section B). Does it work well as a vocal piece or another instrument would be better (specially since there are no lyrics)? Technically it is in C Minor (it starts and ends in it) but since it uses mostly natural A and natural B throughout, and natural E on the melody, I used the Cmaj key signature. Is that okay or I should change it to using three flats like in natural C minor? I am not sure how to notate the piano sections that consist of ascending chordal accompaniment (with the pedal, although it is not marked). Is there any obvious mistake in the notation?) Thanks for listening and any feedback is welcome! PD: I found out that the first 4 notes and main motive of the piece (and the mood, because of the vocal singer) is similar to Jerry Goldsmith's theme to 'The Illustrated Man'. I never heard it before so it was a pure coincidence. I think the harmonization of those 4 notes is different, though.

Well, Beethoven KNEW he was a great composer in his lifetime, but he was more worried about being able to afford food, rent, and plenty of cheap wine sweetened with toxic lead salts! Not to mention digestive issues (Colitis?) that were far worse than the progressive deafness and could have killed him any time. No composer I know of made more sketches: 600 pages for the Missa Solemnis! That is a great composer, a genius, and both are very rare birds.