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  1. Today
  2. This has been improvised then edited so the sound quality might not be that good.. enjoy!
  3. Is there a score for this??? I want to see if I can play it on piano. Sounds rather difficult from the recording, but ya never know...
  4. Beautiful piece, very emotional and delicate! I like how the deep rumblings contrast with the tinkling high notes, as if foreboding something ominous (like winter, perhaps). The piece is aptly named, good job! Musically, however, it's a little confusing. I'm not entirely sure if we're in A-flat major or F minor, since you rely heavily on non-tonic notes throughout. (If that was your intent, then I congratulate you!) There were also some chromatics that jarred my ear a little, as if they didn't belong (the trill in measure 15 and the C-flat in the following measure are examples). These are just my personal preferences and don't necessarily reflect on poor composition skills. You're obviously very talented at creating emotional piano pieces, and I love hearing your stuff on this site! Keep up the good work!
  5. Amazing! This piece is truly wonderful,. How about you you add a C at the A flat at the bass line like this?
  6. I like what you have so far, but I'd have to agree with not having the oboe play the arpeggios, but instead of moving them to the clarinet, how about you just switch the flute and oboe part? That shouldn't create any problems. Also, maybe you could start off the piece without the clarinet doubling and have the clarinet come in at measure 5 with the chord.
  7. Yesterday
  8. I have decided to make a progress post for my suite so that I can get feedback on each of the movements without having to make multiple posts. This starting post will be about the first movement of my suite. I initially planned for the melody to not be in ternary form while the harmony was in ternary form, but the melody ended up being in ternary form. I chose the key of G major because it sounds warm to me. To reinforce this, I decided on the instrumentation being string quartet + piano. I use a sequence to modulate from G major to D major as a transition into the B section. So, I guess you could call it ternary sonata form, whatever that means. I include a short canonic passage in the B section of the piece after I have established D major as the tonality. Afterwards, there is a short transition back to the A section. This emphasizes the subdominant and even includes plagal motion. After the themes of the A section are played, there is a passage that includes 2 creschendos. And then the movement ends with a plagal cadence at fortissimo. What do you think of it? Did I get that warm, sunny quality that I was aiming for? Here are the mp3 and pdf:
  9. Saw someone else embed their SoundCloud file, and it sounded (lol) like a good idea... get song listens and feedback at the same time! Please note: this is not a live recording; even though the instruments may sound real, they're not. I realize this is a rather long piece, but any feedback is helpful. My thoughts for each movement are as follows: The first movement is meant to be stark and rather ambient, with the calls and responses from the different instruments representing the echoes of a vast, bleak landscape. You'll notice the viola rarely fights with the orchestra—this is intended to portray a single voice playing alone in the vastness. The second movement is quite melancholic, full of yearning for things that will never be. It's like the neverending cycle of winter and spring; you'll notice some "warm" passages against the "cold." There are large swaths of the music where the solo viola doesn't play—this was on purpose, as I'm giving the violist as much rest as I can before the ferocious finale. The finale has a much freer tempo than the previous two movements, and you may also notice the viola struggles fiercely with the orchestra here. This movement is fast and furious, with lots of spiccato digs and triple stops. The music ebbs and flows a little until the buildup to the end where the surprising switch to a major key brings the orchestra to its loudest moments in the entire work. Then there's an even faster coda that rounds out the piece with crashing cymbals, blasting brass, soaring strings, and whistling woodwinds. The final four notes hearken back to the opening notes of the movement. Thanks in advance for your helpful input! (I attached the score to this post, too, for ease of reference... it was originally buried in one of the earlier posts in this thread.) Even if you don't feel like you have anything "musical" to say about it, I always love hearing how the piece made you feel! Yfirsést - Full Score.pdf
  10. It's okay, keeps to the standard "epic" formula . The mixing needs a touch-up in parts to avoid blurr and distortion, everything fighting to get to the front. Well done.
  11. It is my pleasure. Thank you for sharing your music!
  12. Oh God thanks for the many kind words !!! I promise I will continue to improve and make better music to the world
  13. Oh, so you can write for woodwinds. Where was this guy in the Sea Symphony? This piece... phenomenal! So much movement, so much emotion, so much Mendelssohn. Either you've listened to a lot of his music, or he has been reborn as you. Either way, this was some fantastic orchestral writing right here. I do have a couple of suggestions. You might have a look at some orchestral scores to get a better feel for how the woodwinds are typically scored. Most orchestras have two or three wind players to each instrument (the same goes for brass), and they'll often write divisi passages for them, or notate them as a2 if both parts are playing in unison. Nothing a little research can't fix! Also, transpose. That trumpet is playing some awfully high notes... not sure if playing a high C# (B natural untransposed) is feasible with such soft dynamics during the menuet section. Also, the arco/pizz fiasco strikes again. You know what to do. 😉 But overall I was overwhelmed. I loved how you brought back the menuet passage and used the other theme (or its variation) as counterpoint. You seem to have a good mind for hearing how things will sound with the different voices of the orchestra—and that is a rare gift, indeed. I find your music quite refreshing. Please, keep making more!
  14. Well, I love your attitude and wish you the best of luck!
  15. So after listening to your Sea Symphony, I decided to see if you'd posted any other music here... looks like you've been busy! You apparently are moved by the same musical "spirit" that moves me; your pieces resonate with me. Like, a lot. This one was no exception. I loved this! The harmonies and chords were unexpected but not distasteful—they followed the natural course of the human ear. There were a couple of passages where an arco was followed immediately by a pizz... that won't be playable... maybe give a slight rest at the end before that final pizz. Stupid humans only have two hands. Why must we consider their physical limitations when the spirit moves us? Again, fantastic job with thematic development! There are many budding composers out there (and seasoned, as well) that cause me to wonder if maybe their music has taken a wrong turn, but yours has a clear destination in mind and lots of gorgeous scenery on the way. Keep up the great work!
  16. Dear Tonskald, Thank you so much for you great great great advice !!! And your kind words really motivated me to compose more music ! I must confess I'm not a professional composer myself so I might be lacking a bit of composition techniques. However, it is a hobby and I won't let anyone stopping me compose more and more music ! Thanks for you advice again 🙂 Best wishes, Sam
  17. To be honest, I don't normally listen to pieces longer than 2 or 3 minutes posted on here, but I had to listen to yours the entire way through! You didn't rely heavily on key and time signature changes to drive your piece (a common practice among modern composers, it seems), and for that I congratulate you heartily! The thematic development was handled expertly, and I loved the way you repeated the motifs with the various timbres of the orchestra. Through the crashing waves and pulsing currents, I caught some echoes of Mendelssohn—perhaps an influence of yours? If you're up for some advice... please read on. The woodwinds. For whatever reason, new-to-the-scene orchestral composers don't seem to know what to do with them. (Trust me, I'm right there with you.) Or it's probably more accurate to say that we know better what to do with the string and brass sections, which largely carried the melodies/harmonies in your piece. I noticed that when you did use winds, they almost always doubled what was happening in the string/brass section. Forgive the pun, but that will drown them out. While I'm composing, I have to stop after each phrase to see if I've "left out the woodwinds again." You might find that practice useful, as well. So how do you use woodwinds? Remember that they're very versatile and they have a wide range of beautiful timbres the other sections can only dream of having. A solo passage with any of the main winds (flute, oboe, clarinet, bassoon) can be a very effective way of developing your themes—and sending chills down your listeners' spines. During tutti passages (where leaving the woodwinds out just seems inconsiderate) you might think about having the woodwind section play alternate rhythms from the rest of the orchestra. For example, if the tutti passage is mostly half or quarter notes, have the woodwinds play some counterpoint in eight or sixteenth notes. Nothing too "out there," or you'll ruin the effect, but I think you'll find it really thickens the passage. If you do choose to keep the woodwinds in the same rhythm structure, at least minimize how much doubling they'll be doing. Give them cool harmonies of their own! Don't forget to post a transposed score on here. It's a simple button click with Sibelius, and I'm sure was just an oversight on your part. The horn and trumpet parts were pushing the limits of their upper registers, but still seemed very playable. (I must say, as a violist, I would like to have see more viola-driven melodies—but, hey, we're used to being overlooked. 😂) Sorry for all the wordiness in my criticisms—makes it seem like I hated the piece. I actually really, really enjoyed it, and I think you show tons of promise as an orchestral writer. You're obviously very gifted at writing music that connects with the human soul (mine, at least). I look forward to watching your distinct musical voice develop and hearing more of what you've written!
  18. Composition completed on 12/30/2015 You also can watch this piece here -
  19. @Luis Hernández Thank you:) Glad to hear that you love it. This work I have spent more time structurally, i.e. on single-motif development. I think I can do that in the second and third movement, but I am having a hard time in the first movement.
  20. The term is probably really effective when it comes to composition, but when it comes to analysis, you'll notice it's just a few sets of scalar tetrachords that whose [0] prime value go up by fifth i.e. C D E F# - G A B C#. The sound of the scale in and of itself is cool, and great in improvisation, perhaps, but analytically it falls short of any practical value, in my opinion.
  21. Nice, though I like the prelude more, I think. You have a set of parallel fifths in m. 59, by the way. I don't know if you care.
  22. I would say that the first triad of any mode represents its "tonic," which I put in quotes because they don't always get there with a ii-V-I cadence or a subdominet-dominant cadence. But they are tonal centers nonetheless.
  23. I like the harmonies, it sounds like something from dbz.
  24. Last week
  25. A maximum-cheese, power metal tune I composed as a battle theme for an indie game. Let me know what you think.
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