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  1. Today
  2. I think she means just start a thread that says something like, "One Composition a Day Challenge," and post each day's work as a new post in that thread.
  3. @MonarcheonThanks. How do I do that if you don't mind my asking.
  4. @DrPengin If you're going to be posting all of your daily works, I'd suggest making a separate thread to post all of them sequentially to avoid flooding the review forums.
  5. Hi. I'm a beginner composer, and have set myself the challenge of writing a new piece every day over the summer holiday. This is the result of Day 3. I would love to hear any feedback. (The cello part is below the screen. Please check the Musescore link in the video's description.)  
  6. This first in a project to write a roughly 1 minute piece with a different instrumentation each day of the summer holiday. I've also focused on using different modes and scales for each piece. I thought I'd undertake this challenge to improve my compositions. Feel free to give feedback.
  7. I'm a guitarist and new to composing, so I wanted to improve by composing a new piece every day over a 6 week period (summer holiday), with a focus on different keys and modes, and differing instrumentation. This is a piano piece I wrote 2 days ago.
  8. Yesterday
  9. Interesting... the different key signatures don't do that for me. I've heard a wide range of emotions from various pieces in the key of F minor, for example. Chopin wrote a rather 'happy' waltz in that key that doesn't sound very sad or much like death—at least not to me. https://www.youtube.com/watch?v=gsReRbazbfg And a very sad nocturne in the same key. https://www.youtube.com/watch?v=e3yrEEM5j_s And a very angry etude, also in F minor: https://www.youtube.com/watch?v=A0umohcLS1I Maybe you have a form of synesthesia (which is really cool if so) that links these absolute pitches to various emotions. For me, most of the emotion in music is conveyed by the relative note intervals, the tempo, the rhythm, the voice, etc. My guess is that you're associating these key signatures with momentous works in the same key signature that evoke the feelings you mentioned above. I could be wrong, of course.
  10. For me, increasing tension with increasing flats only really happens with 1-5 flat key signatures and more specifically minor keys. Here are the feelings I feel from 1-5 flats in minor keys when I myself am improvising: D minor - Sad but just a little bit, sadness can easily be neutralized G minor - Anger becomes an intrinsic emotion, second most variable of the keys C minor - Most variable in emotion out of all the keys, but most often sounds either sad or tense F minor - Saddest of all the keys, The Key of Death, most of the factors that affect C minor's emotion don't do so for F minor Bb minor - Angriest of all the keys, especially at a fast tempo As you can see, with the exception of F minor, each successive minor key often feels more tense than the last until you get to Bb minor, which has the most tension of all. The corresponding major keys to me sound, with the exception of F major, nocturnal in nature with Db major being the dreamiest of them all and Bb major sounding like a moonlit night.
  11. Very nice! (I love it when people write introductions into the scores) Sounds very nice.
  12. No problem! Most of Debussy's piano works are gems, both to play and to listen to. This collection of piano works is available for free on IMSLP: https://imslp.org/wiki/Special:ImagefromIndex/02907/hfne. Unfortunately, the mazurka isn't in there. After you've spent some time listening to his piano works, branch out and hear what he could do with an orchestra... some of his stuff (written in the early 1900's) could easily be mistaken for filmscores of modern films!
  13. Thanks! (I really need to find more Debussy pieces)
  14. Yep. I have files overlapping others in my desktop. (and my downloads folder...)
  15. I don't think I follow this line of logic. If more flats leads to more tension, then why does Debussy's Claire de lune, with five flats, sound largely tension-free while his Pour le piano, with no flats, sound extremely dissonant? Dissonance and tension are brought about by the relative position of notes with each other, not their absolute position. The chords Bbdim7/C and Ebdim7/F have the same amount of tension even though they're a fifth apart from each other (like G minor and C minor). No key signature is inherently more or less dissonant than another. True, often one key signature is chosen over another due to its playability by the instruments performing it. (It is far easier, for example, to achieve double and triple stops on string instruments if the open strings can be played, limiting the key to C/G/A/D/E. That's why most violin and cello concerti are in one of those five keys.) Another factor is the range of the instruments. The lowest a violin can play without messing with its tunings is a G below middle C. If your key signature has you needing the violins to play an F below middle C—well, transpose your key up a major second (or—here's a novel thought—give the melody to the violas!). I say all of this to challenge your statement about the inherent tension in G minor and C minor. Beethoven didn't choose to put his 5th symphony in C minor because it's a 'tense' key. My guess is he was tinkering around on the piano in the key of C minor and happened upon the great fate motif... and the rest is history! Kudos to you for analyzing these two great symphonies, though! I hope my explanations help.
  16. I feel ya! My most commonly used words are "Where did I put that file...?"
  17. Chopin cornered the market on the mazurka, but he wasn't the only famous composer to write them. Debussy wrote a rather nice one, here. What makes a mazurka a mazurka is triple meter (such as 3/4 time), accent on the second or third beat, and usually Lydian mode (although not all composers—Chopin included—wrote mazurkas in Lydian). You can probably do a quick Google search to find other composers who wrote mazurkas. I think you'll find the 'waltz' accompaniment is the most common. Debussy is a clear exception—as he is to most rules of thumb. Hope this helps!
  18. Is there any sheet music? Makes it easier to follow if there is. I found it pleasant though.
  19. This is a concertino I wrote specifically for a youth chamber orchestra. Although it's not a perfect performance, I was very pleased with the results considering the amount of rehearsal time they had. This is my personal recording of the piece from my place in the audience, so I do apologize for the fuzziness and the whispers going on around me. The name means 'Boreal Song' or 'Song of the North.' Though I generally prefer to convey my musical ideas through chord structures, this piece is more lyrical than my normal wont. There are 2 major themes and a number of motifs throughout. The piece was designed to represent the struggle of spring overcoming winter, so I hope you can hear that in the tense passages and deep yearnings of the solo cello. As always, feedback is welcome! Edit: @Maarten Bauer I just saw you put up a piece performed by a youth orchestra, too, so now it looks like I'm trying to one-up you! That wasn't my intent at all, so everyone please go listen to Maarten's piece, too!
  20. An improvisation meant to resemble a wooden block.
  21. Hello! This is the first symphonic work composed by me that is performed by an orchestra. There are some minor mistakes in the music, since it is a youth orchestra playing it and there was - as usual - little rehearsing time. Nevertheless, I am quite satisfied with the result! Tell me what you think and feel free to subscribe. 🙂 - Maarten Bauer
  22. Wrote a short mazurka. Does anyone else know any mazurkas besides those of Chopin? Just curious if there are any other accompaniments for mazurkas besides the waltz type. Composed July 3rd 2019
  23. Thank you for the feedback! Thanks for pointing out the part about the accents. I think I may have uploaded the score I used for the mp3 file instead of the edited one. (My files are so disorganized)
  24. My style is mainly impressionism, so I'm not a huge fan of the dramaticism of Beethoven and his German friends. I hear 'wind' musically as a soft drone of the strings in tremolo with perhaps a rising/falling melody on top. It's not chaotic or atonal but it is in a different mode—maybe Lydian?—to enhance the mystery of what wind is. Unless you want the piece to sound less-than-ideal, my advice is to stay away from mixing atonal and tonal harmonies. You're a Classical/Romantic at heart, so I really don't see a need to branch out into serialism/tone rows at this point. However, this is your piece so do what feels right to you. Happy composing!
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