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  2. 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. 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.
  3. I composed a short piano piece. Roberto Zini - Fantasia Delicata I hope you like it
  4. I composed this piece in 2018. Roberto Zini - Il Flauto Dolce I hope you like it and enjoy! Bye
  5. Today
  6. 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. 😊
  7. 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.
  8. https://www.youtube.com/watch?v=IHmIKZlRwPg
  9. Yesterday
  10. 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
  11. 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?
  12. Nice piece with a continuous progressive development and a quiet ending, contrasting the preceeding tension. Congratulations!
  13. 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.
  14. Last week
  15. 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.
  16. 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.
  17. 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.
  18. Thanks for your review and opinion caters. Also thanks for pointing out the dynamics issue. I was not clear about it. I will keep that in mind in the future. I updated the score eliminating the extra "F". Regarding the 'soliloquy', it's a short piece for a solo instrument. I have a more detailed description which I couldn't find right now.
  19. I don't know what soliloquy means but it is a nice little tune. I like how it starts as primarily octaves in the first 3 measures and then it goes to an obvious melody and accompaniment in measures 4-8. I also like the ending chords. But just so you know, you don't have to put the same dynamics in both staves. A celesta player, like any other keyboardist will understand the dynamic in the middle of the grand staff as applying to both hands. So the only time you need to state 2 separate dynamics in the same measure is if you want compound dynamics, i.e. different dynamics for the left and right hands.
  20. This is my 2nd soliloquy for celesta. I have used the instrument in another piece by itself and as part of a duet in another series of pieces.
  21. Hello folks, In a long time I post one of my works here. Melting Icicles is a winter prelude, which represents a two-sided story. On one hand, the piece shows the utmost beauty of winter ice, in particular icicles, which reflect themselves in ice caves. On the other hand, Melting Icicles makes clear that this beauty is in danger due to climate change. Furthermore, there wafts a kind of melancholy over the music: If we continue our lives in the way we live now, there can be a day without these ice diamonds. * The piece starts fff , so watch out with ear plugs! Feel free to share your thoughts with me. ~ Maarten Bauer
  22. Everything is going well!! Nice to talk with you again! Personally, I disagree with your statement that classical music began with Bach. It is difficult to say where the beginning of western classical music is. Does it begin with renaissance? Ars nova? Or even gregorian chant?
  23. I liked a lot of this! There were a few moments here and there where the chord progression or the melodic contour felt a little contrived and unnatural - for example, bar 70, or bars 121-122 (I liked the general idea behind it, but I felt it wasn't pulled off convincingly enough). Otherwise I mostly liked the harmonic unpredictability of the piece and I think you should continue with that sort of thing and see where it goes in future, but I couldn't get a feel for the piece's structure and I never really knew where it was going, even though I felt like I was supposed to know. I also could only really pick out one piece of musical material, which was the main melody. There might have been secondary ideas that recurred throughout the work, but if there were I didn't recognise them. I definitely think a piece of this length could afford to have more motifs, or to play around more with the existing one.
  24. Hi Maarten, I hope everythin's fine... I think Bach, seen after come centuries away, is the beginning of classical music. Before him, music was different (modal, darker, medieval). After him, many things happened. The greatness of Bach is the way he reaches total inspiration in a "constrained" language as counterpoint is. I also love his music, and Baroque in general.
  25. It is a very good fantasy! It is much variated and keep alive the interest of the listener. Congratulations!
  26. For me Bach is everything. His music helped me to get through tough periods and cheers me up the moment I listen to it. I wake up with it. I study with it. I fall asleep with it. It seems that I am addicted in a good sense to Bach. Although I listen to many other composers from all periods, styles like Machaut to Stockhausen to African to Indonesian music. I have been wondering for many years why it is Bach that can only give me so much joy, pain, passion and all other emotions so much more than other composers. What do you think the reason is that I feel that Bach is my everything? I am curious to know.
  27. There are a number of moments which are a bit unclear from the orchestra -- the rehearsal time we had on this piece was barely enough to make it work at all, to be honest. A number of woodwind and brass moments which either weren't played particularly loudly or might have been missed entirely by an inattentive/lost player. If you listen really carefully you may be able to pick some of them out, though I'm not entirely convinced they did all happen. That's part of why I made the orchestral parts as simple as possible -- it's a high school orchestra, and if you make the parts too interesting, you just make available more ways to go wrong. That, and I was also going for a very Paganini-esque style, and his orchestral parts aren't particularly exciting, either.
  28. hello guys ! this is my new song!! i hope you like it! any criticism is welcome!
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