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  2. I think the bass is too thick at the opening -and that could be a problem (though I'm sure a decent pianist will, no doubt, compensate it). I'm not sure why you chose to put the chromatic passage in the bass either. Also, why so early? And, why in octaves? That's going to be a thick sound that will muddy up the sense of tonality -which it does do to some degree upon listening. That said, I love the thematic material. G minor is an awesome key to work with. Chromaticism to me is an embellishment (shocking yes, since I dont wrote tonally anymore).
  3. Today
  4. Hi I do exist 😮😃
  5. I started composing this almost 6 months ago, but I didn't finished ,until now because I run "Dry" of ideas. I used an harmonic ostinato by circle of fifths that repeats during all the piece. I haven't decided the dynamics very well, and don't sure where to add some more slurs. First time composing for string quintet, and for strings in general, hope there are no parts impossible to play. I add 2 audios, one with strings sounds and other with just piano, because some details are hardly noticeable because of the sound I used and my poor mixing. Any feedback is apreciated :3
  6. I'm going to answer while I listen. Is the bass in the A section of the A section(bars 1-8 and 23-30) too dense? Well, that depends on who is listening, for some people it could hide the melody a bit and make it lose some protagonism and focus. In the consequent phrase(bars 5-8), is the bass too close to the melody? Should I bring it down an octave? I'm just asking here because I noticed the bass and melody come close enough to form chords in my consequent phrase. No, it is okay, a third of distance is still a secure interval, and you have more than a third of distance, many composers do that, one of them who does it a lot is mozart, also if you down it an octave it will create a very large skip that would be incomfortable to play In the B section of the A section(bars 9-22), am I handling my chromaticism correctly or not? Most of the time, chromatism is used to created, secondary dominants and passing notes on the melody, feels a little odd because it doesn't add to much to the harmony more than a mere ornament. Is it too much of me to expect a pianist to play a polonaise rhythm in octaves for the whole B section of the A section? Well I have do that for a whole piece xddd, for a intermediate pianist shouldn't be a problem Do I smoothly transition into the inversion(left hand becomes right hand kind of inversion) or not? I haven't noticed until I read that xd, in your B section is a little obvious but that's because of the octaves, if you want to hide it a little just make it a single melodic line, to conserve the caracter. Is my A section too repetitive with 2 periods and a motive sandwiched between the 2 periods and the repeat sign? A little, more variety in the motives would help, it sounds like the melody is just repeating the bass Is 30 bars enough for the A section of a piece that I expect to be 200 or so bars long, or should I extend my A section further? if you want to make it 200 bars long 30 measure aren't enough, unless you make yor other sections of 60 measures or so, I don't know which form are you going to use.
  7. Here’s another piece I wrote on piano. Yes, it needs a vocal, but you’ll have to settle for the flute-y thing. There’s a lot going on in places and I’m not good at measuring dB levels, clashing frequencies, and all that sort of mind numbing stuff. I just like focusing on musical elements like melodies, harmonies, dynamics and stuff. I hope you at least get the flavor of the piece. It’s in F# minor, one of favorite melancholic keys. I would appreciate feedback on everything from overall composition, arrangement, instrumentation, dynamics, and... *gulp*, the technical stuff like “boost the mid-range at around 20dB” (I actually just made that up and haven’t got a clue what it even means). I NEED AN ENGINEER DAMN IT! hehehe. But really, I do. Enjoy. -Rick
  8. The first 5 measures, sound a little, too "harsh" to be a nocturne, but I think that's because of the soundfont you used. Try to consider adding some pedal on those measures. I like your use of irregular groupings and odd metrics, that makes it sound pretty modern but at the same time very classical. The end is misterious, to me it sounds like it should continue, i think it's because you made the bass stop with the last chord, but the melody still keept going.
  9. hi this is small song and duetto. i thought i could share this. i like the feeling of it.
  10. Yesterday
  11. Gradually trying to work up the keys. This nocturne is again an update like the Eb major one was. Its taking ages. Not sure about the time signatures or ending. No slurs as the software treats the slurs as a pedal sometimes. This piece might be a bit of a mess but don't know. Feedback is greatly appreciated. Thanks very much.
  12. I just happen to have the PDF and MP3 of this polonaise as it is right now with just the A section, so I will just attach those directly to my reply.
  13. Beautiful harmonic elements in the first part that have a touch of Satie. However, I think the first theme is a bit overused in the beginning, because the rhythm of it changes little. from 2:00 there is a change, welcome. I also like the polyrhythm, very "tardo-romántico" (late romanticism). The central part is also very nice (I wish it bring more contrast). Very coherente and inspired piece. Nice collection of nocturnes you are making.
  14. Nice pice. The central part is so contrasting in major that sounds odd at first time. The main theme is a bit "standard" but good.
  15. Could you reupload the piece I can not find it in musescore.
  16. For solo strings: VSL. You can download the host player free. VSL cover all the strings and provide 2 separate solo violins and cellos; the viola and double bass, muted and without mutes with various playing styles like ponticello, sul tasto, legato, sustained, detaché, marcato, staccato, pizz, portamento, etc. There are basic articulations and 'performance intervals' (like true legato, portamento etc. It's these I tend to use the most even if they're a bit heavy on RAM). The VSL site has demos and a few videos on how to use the player which seems very powerful. East West doesn't provide solo viola or double bass. As I wanted to mock up a string quartet I was left with only the one choice. Only snag is you'll need a Vienna or Steinberg license key. VSL hasn't got a software key yet. Here's an example of the solo violin. It plays on the different timbres like sul point, harmonics etc. (I did a cello piece here on the site somewhere) .
  17. Yes, quite an accomplishment. You're developing a good sense of melody and harmony. Some nice doublings in the scoring here and there. Clearly you have a sense of these things.
  18. Basically like it as it is but some deeper rhythmic pointing after around 0'34" after the strings get wild might work. It depends what you want. If for example you imagine it accompanying/ portraying a scene with people fleeing or things flying away then be sparing. (Like Wagner's famous Valkyries, there's no real bass. It's big but airborne!). Also - just my view - drums pounding away would mess it up. So it would have to be a staccato/pizzicato accent in the bass carefully placed on a strong beat (which doesn't mean a regular beat). [edit] As for melodic instruments mixed above or around the strings my personal view is don't, unless you want to reduce their vivacity and impact. [/edit] Nice start. Very energetic strings.
  19. Hello everyone, I am back, this time I'm going to post a piano arrangement of a Christian hymn, hope you like it!
  20. Spitfire Audio has two different solo string libraries. One recorded in Air Studios in London and one I don't know where, but they are both good.
  21. They can run but they can't hide. I think you got them all. Creepy little b-----
  22. Last week
  23. Hi! I wrote/arranged this piece for the Lake Travis High School Indoor Marching Percussion for their show entitled Ghibli. Very challenging drum parts, source material is the soundtrack to the movie Spirited Away. Enjoy
  24. Had fun writing this crazy piece. Probably not the finished version.
  25. Esper, And also composers in need of lyricists. 🙂 Checking out colleges for singers is a great idea. Thanks for your feedback! -Rick
  26. Hi, I wrote this piece with an intention of taking just five simple notes (which are the first five notes of the lick by the way) and turn it into a memorable motif. Here is the result: I would appreciate any feedback, not only on the music but on the production part as well (eg. mixing). I'll attach a score on this post, just in case. Finally, there is another piece that I wrote recently and which I published in the "Large Ensemble" section. However, now I feel it might have been more appropriate to post it here. So, if you have time and you haven't seen that piece go check that out as well: https://www.youngcomposers.com/t39092/bloody-mercenaries-feedback-or-thoughts-on-my-piece/. I would appreciate it a lot. Again, I would really love to hear your thoughts!
  27. If it is something you are interested in, go to your local college and see if people are looking for composers. I am sure there are many singers yearning to have a composer behind them.
  28. Joshua Bell -This is the best solo violin VST I've found. I am waiting for it to go on sale. Also, Tina Guo makes a good solo cello. I do not know of any viola or double bass vsts -aside from the one's from VSL and EastWest. But I am sure they're out there! Take a listen to the Joshua Bell link. It sounds amazing. https://www.embertone.com/instruments/joshuabellviolin.php https://cinesamples.com/product/tina-guo-vol-2
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