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  3. Hello!! thanks for listening and criticism! uff yes i know two steps!! they are professionals,, i a simple novice.. but im going to improve. Thanks!
  4. I am a pianist so I know how to make a piano piece sound good. And writing a piano concerto has always been one of my dreams as a composer. Now I know the typical first movement form of a concerto. It is basically a modified sonata form with 2 expositions instead of just 1. One for the orchestra without the soloist and one where the concentration is on the soloist. Other than that, it is like a typical symphonic movement. Now I have been given quite a bit of advice on writing symphonies. One of the pieces of advice that I was given was to write a concerto first because the orchestra in a concerto is smaller. Another was to basically figure out a motif and then go all Beethoven's 5th on it, basing the entire symphony on that 1 motif, like Beethoven did with his 5th symphony. But I was wondering, since I am a pianist and more familiar with composing for piano, should I write the piano exposition first and then the orchestral exposition for my first piano concerto? Or should I stick to the standard orchestra first, then soloist?
  5. I'm not familiar with wind band but to me, it sounds like a symphony without the strings. Even though it is a wind band, it feels like an orchestra. And I wouldn't worry about the movements being short. I myself often have the opposite problem with my sonata movements. I often don't know where to stop. But usually, I can tell myself "after x bars, I will stop and move on to the next movement." In C minor this feeling of not knowing where to stop intensifies to the point that I feel that I could easily have a 20 minute long movement. That and my compositions tend towards the long side anyway. I haven't composed a symphony yet but I imagine I would get that same "I don't know where to stop this movement" feeling at the same intensity that I do with a C minor sonata, regardless of key.
  6. Hi, here is my new Kyrie in G minor in classic style. Vocal: sopran, alto and SATB Choir Instruments: Oboe, strings and continuo As always, I'm looking forward to your comments. Regards!
  7. ...or something like that. Fantasy game music I wrote, anyway. Let me know what you think.
  8. Yes, the timpani can change it’s pitch, however it takes time and must be notated that a certain drum has to change pitch. The time to change pitch, on average, is 4 measures in moderate time. If you want them to use the pedal during playing and not during rest, mark the change in pitch as a glissando.
  9. You're talking about why I have no English Horn with the oboes like how I have piccolo with the flutes, bass clarinet with the clarinets, and contrabassoon with the bassoons? Well, it is mainly a spacing thing. I have it set for A3 size paper in Musescore and I know that you can only have the staves so close before notes start overlapping. I honestly don't know if adding an English Horn staff will get it to that minimum spacing or not. If not, then I can add it without any problems. If it does though, then it is better for me to leave it out so that the conductor has an easier time looking at the score. Also I'm not sure what notes I would put in the English Horn if I do add it, given that I already have most of the notes of the sonata. Only ones I left out were the higher notes of the octave tremolo in the original piano score. Also, I have heard of there being pedals on tympani drums to raise the pitch without retuning the drum. I don't know how far up the tympani pedal can raise the pitch though.
  10. It sounds nice, but I do ask “why is their no English Horn?” You have the woodwinds in threes but you left off the English Horn. also, make sure you are careful of the Timpani. I see you use five different notes for the timpani in the first three measures. There’s only four drums for a standard Timpani, and each drum has a specific range. I think you should read up on the timpani. Also, use less of it. It’s effect as an accent in the piece is overused.
  11. This is a my first piece for String ensemble and solo violin. I will say the harmony is a fusion of neo-classical, late romantic and asian (japanese) harmonies. Hope you guys will enjoy it.
  12. I believe you’re looking at the a minor section with the wrong idea. It’s not supposed to be sad. It’s supposed to be lyrical, thoughtful, and bring out the deep emotions and thoughts within people. If I wanted to make a dirge, I would make one. Besides that, the analysis is quite accurate, so thank you.
  13. Even though it is written in A minor, it starts in D minor when you have the violin by itself in the beginning of the piece. Beginning in the minor subdominant is not what I would expect, though I do like the plagal motion that it provides when it goes from violin solo to violin + piano. By then it has settled in A minor. And for a piece about death, it isn't as sad as I would expect it to be. Though that probably has to do with it being in A minor which isn't as sad of a key as say F minor.
  14. So this is my first orchestral arrangement. I figured I should do an orchestral arrangement before I go on to write my symphony in Bb(which I have been doing a lot of planning on). My symphony in Bb, I also have a nickname for. That nickname is, The War Symphony. As you may or may not be able to guess, it is influenced by Beethoven, more specifically his Eroica Symphony. Anyway, I also figured that since I am a pianist and Beethoven is my favorite composer, it would only make sense that I arrange a Beethoven piece for orchestra. Hardest part was deciding on what Beethoven piece to arrange. But I eventually settled on my favorite Beethoven sonata, his Pathetique Sonata. It sounded orchestral in its nature, even as a piano solo, so I figured that this sonata would be well suited to an orchestral arrangement. Since there were up to 4 voices in the bass and in the treble, I thought to myself: Now, I have been told that I need to clarify how many instruments I have, specifically how many horns. That is indeterminate at this point. And what if I wrote for 6 horns but the orchestra only has 4 horns? Who would take up the 5th and 6th horn parts? 2nd and 3rd Clarinets? Would they just not be played at all? So far, I have been using the tympani to provide an accent where I feel one in the original piano score. The first theme of the Allegro was much like the Grave in terms of which instruments play the bass line and which ones play the melody. However, because of all the woodwind solos in the Grave, I decided to give the woodwind players a break in the first phrase and bring them back in the second phrase which is basically a repeat of the first phrase. In the second theme, because the bass register became part of the melody and the bass line went into the treble clef, and the horns weren't used much, I decided to have the horns take up the bass line and the cellos and bassoons play a more melodic role. I also had alternations between the different woodwinds. This also provided some much needed contrast on top of the major/minor contrast that was already there. Then, like in the crescendo towards the end of the Grave, in the closing material of the exposition, I built up to a full orchestral texture. The second Grave section is more woodwind dominant in the sound compared to the first Grave section which is more string dominant. I don't know why though. I mean I have fewer woodwinds(bassoonists get a well deserved break after playing the lowest possible note and the bass clarinet takes over the bass role) so shouldn't the second Grave be more string dominant than the first Grave, especially given that all the instruments are at the same dynamics? Everything went fine in my orchestral arrangement. That is, until I reached the development section. Now I realize, Musescore doesn't provide a good balance(like the brass stand out a bit too much in the fortissimo) but that is not the problem. No, I have reached a writer's block with this orchestral arrangement. It would be nice to get some feedback on what I have done so far. So here is my orchestral arrangement of the Pathetique Sonata(the sound ends at about 6:18 in the MP3 file because it is incomplete):
  15. This piece started out as the opening bars to movement II, which came to me while trying to sleep one night. The basic idea of movement III is one that I've had in my head for a couple years, ever since I wrote my first wind band piece in 2016/17. After that, movement I started with just me putting down notes to see what would happen. I've tried to experiment more with having instruments 'bleed' into each other (you can see this mostly in movement II), which is something I don't see much in most wind band writing. I haven't really pushed my harmonies that much (by my standards anyway) - I'm a bit reluctant to do that in a wind band context, because I don't think there's as much leeway as there is in the orchestral world, and I don't even feel a strong need to just yet. At the same time, though, I'm really proud of quite a lot of this piece, and I think it shows a few things that you can do with harmonies without necessarily pushing them to their absolute limits. I've tried to play around a bit with traditional wind band expectations, especially with regards to percussion, and I will continue to do so. I've always wanted to give a melodic solo to the temple blocks, for instance, and finally did so here in movement III. I also rebelled a little against using bass drum/cymbals in the traditional accompaniment oom-pah way, which is why I gave them a solo too. I worry a little that the movements are a little short, because I think each one could potentially go on for a full 5-6 minutes at least with their material. However, short individual movements is pretty common in wind band writing, and if the piece as a whole has a consistent feel and sound then I think it still works.
  16. I composed a short piano piece. Roberto Zini - Fantasia Delicata I hope you like it
  17. I composed this piece in 2018. Roberto Zini - Il Flauto Dolce I hope you like it and enjoy! Bye
  18. On the joy of coffee, the composer's best friend. This is for a small jazz band of piano, bass, drums, violin, clarinet, trumpet and trombone. I may have posted this before but I don't remember and I don't see it anywhere, so ... here it is. 😊
  19. This is great and the best thing I've heard in a while. Bravo! Rehearsal time is always a problem, I guess. But you all pulled it off with aplomb. Given the skill level of the orchestra, which isn't too bad, using them as sort of simple punctuators for your solos was not altogether a bad idea. Very astute I would say.
  20. https://www.youtube.com/watch?v=IHmIKZlRwPg
  21. Last week
  22. I would say that the ostinato on the piano isn't very compelling. It feels kinda random and I'd change the pedal tone to suit the chords better. The drums also feel out of place; I'd expect more toms, taikos, etc. than a drum kit, which is especially jarring because there is no bassline. Another big problem is that the piece does not have a consistent build like most "Epic" pieces. If it's an epic piece that doesn't have that trailer-style build, then it needs to be much clearer in song-structure and the chorus needs to be significantly bigger than everything else. I'd say this piece is a great example of that. Your piece however, doesn't really have this big theme to build up to. In fact, the piece doesn't really have much melody at all. The biggest issue, production-wise, is that the sequencing of the instruments is noticeably fake. The guitar and strings, specifically; the former is especially egregious because electric guitars are extremely-tough to sequence, it isn't double tracked like metal guitars almost always are (thus lacking that wide, stereo sound), and it has way too much gain and mid-scoop and therefore sounds like a swarm of angry bees. I hope some of this helps
  23. caters

    Canon in Bb

    This is one of my first compositions. It is a canon in Bb for a woodwind quartet. It is also at the unison. Here is the video of it: Like Pachelbel's Canon in D, it has a ground bass instead of the melody being repeated in the bass. And the only reason the clarinet part has a key signature of Bb is because I had it on the concert pitch setting. So the pitch shown in the clarinet part is the sounding pitch, not the pitch that the clarinettist would finger for. And here is the pdf file so that you can see which instrument is on which staff. What do you think of it?
  24. Nice piece with a continuous progressive development and a quiet ending, contrasting the preceeding tension. Congratulations!
  25. Is this an etude for those wanting to practice their Alberti bass? Because it feels as though the melody is framed by the Alberti bass. This feels like what Mozart would have written if he wrote etudes.
  26. This is an arrangement that I have been thinking about doing since winter of last year. No, not because the Nutcracker Suite is common as Christmas music, but rather because the Nutcracker Suite is my favorite of Tchaikovsky's 3 famous suites. Instead of starting with the March as most piano arrangements do, I decided to start with the Overture. I couldn't find many piano arrangements that included this so I decided to go from the orchestral score and arrange it myself. But I ran into a difficulty after a while. No it isn't the clarinet part and me having to transpose it. No, it is the entrance of the entire orchestra. So, I decided to highlight different parts of the orchestra. 2 distinct voices are highlighted the same color because I ran out of colors to highlight with(but you can tell the difference because one of them is almost all 16th note staccatos). So here are my score arrangement, both mp3 and pdf, and the pdf of the Overture with the highlighted areas. Pages 4 and 5 are where I have highlighted distinct voices in the orchestral texture. The ones highlighted in blue and green I think would be obsolete in a piano duet arrangement, especially the one highlighted in green since it is just the same note being repeated over and over. What do you think of my arrangement of the Overture so far? I know it is all treble clef but that has to do with the fact that there are no cellos in the overture and it goes pretty high up, high enough to consider me having it in treble clef instead of bass clef. I know I could just lower the notes that originate from the viola parts down an octave and it would fit perfectly into the bass clef but I'm just not sure that I should do that.
  27. I love it. It isn't all that often that I hear the bassoon outside of an orchestra, much less in a duet. And while yes, there are some great bassoon concertos and some great bassoon solos in symphonic works, I love how the bassoon really stands out when the piano is the only other instrument. And the sound of the bassoon is so beautiful. It almost sounds like a clarinet when it is in its high register. But that bass register is so warm sounding. If there were such a thing as a woodwind orchestra like how there is such a thing as a string orchestra, the bassoon would be analogous to the cello, which is another instrument that really sounds warm in the bass register outside of the lower 5 notes or so where the bass part of the sound becomes prominent.
  28. It sounds very Japanese indeed. But I can see the similarities to composers like Liszt and Chopin. Namely the long trills, fast groups of notes that are essentially mini cadenzas, and overall improvised feel. It's beautiful.
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