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  2. These are a set of five preludes for the piano that I wrote, so they are relatively short. Keep in mind, this is the musescore render of it, so it's missing a lot of expression and musicality. Looking for feedback on them. Thank you!
  3. Today
  4. Hello guys this is my new song! i hope you like it! Any criticism is welcome!🎹
  5. Yesterday
  6. AAAGH! FOUND IT! Harmony Assistant, and I'm an idiot. >.< http://www.myriad-online.com/en/products/harmony.htm
  7. This is a real blast back to the past, but I could swear blind that I learnt about a singing synthesiser called Harmony Engine via this site about 10 years ago, but I can't find any info on the software at all, which is making me think I'm just nuts, despite the fact I have mixdowns from it. :/ Anyone, halp? :/
  8. It's a nice piece. I like that contrast between the quiet, beautiful sections and the loud, dramatic sections. But I'm wondering, why do you have slurs that don't end in a note in some bars? Is that to show that the note is sustained across the bar? Because the pedal marking alone would do that. So having those slurs not ending in notes to show that the note is sustained across the bar might be confusing to a pianist who plays this piece. Also, it seems so rooted in 3 flats that having no key signature just doesn't make any sense. Sure, it goes back and forth between Eb major and C minor(and I think there are some places where Eb major and C minor are played simultaneously(which is called polytonality when there are multiple keys at the same time)) but both of those keys have 3 flats. So putting in a 3 flat key signature will make things easier on anyone playing this piece.
  9. So I was in this stormy C minor and I am wanting to get back to F major, the key of my piece as a whole. My key signature changes have been pretty regular so I decided on my first modulation back from C minor to be G minor, a circle of fifths modulation. Likewise I changed the key signature to 2 flats. But now, I don't know where to go next. Here are the pathways I see that don't involve very many keys or key signature changes(with the regularity, I only really have 2 key signature changes left if I want to keep the change in key signature regular and one of them has to be to 1 flat which limits my options(so like I couldn't involve D major to any extent really)): The Circle of Fifths Pathway This way I continue up the circle of fifths like this: G minor -> D minor -> C major(subtonic of D minor, dominant of F major) -> F major And here it is in Roman numerals both for G minor and F major: G min: i -> v -> IV -> VII F Maj: ii -> vi -> V -> I The Altered Subdominant Pathway This way I go from the minor subdominant to the major subdominant which then leads to a cadence in F major so like this: G minor -> C minor -> C major -> F major And here it is in Roman numerals: G min: i -> iv -> IV -> VII F Maj: ii -> v -> V -> I The Mediant Pathways Here I would be using the mediant of G minor, Bb major to lead to F major. Now here, I have 2 pathways. I could use a plagal motion and skip the dominant. Or I could use the subdominant of F to lead to the dominant, which then leads to F. Plagal pathway G minor -> Bb major -> F major G min: i -> III -> VII F Maj: ii -> IV -> I Authentic Cadence Pathway G minor -> Bb major -> C major -> F major G min: i -> III -> IV -> VII F Maj: ii -> IV -> V -> I
  10. I really like the solo timpani interjections - I'd have a great time playing that part! I was worried that once it got faster it would lose the same harmonic intensity that it had to begin with (I think the strings outlining the simple B minor chord were a bit unexpectedly simple) but as soon as other instruments come in with extra notes/material it sounded great. I was a little taken aback by how short the faster section was - I felt that one minute wasn't enough to fully integrate it into the otherwise slower and hymn-like piece, especially since the last minute of the piece is relatively calm and static. It sounds like a really good performance - what was the orchestra?
  11. mark styles, Thanks for the kind words. I know the title doesn't really fit the vibe but it kinda stuck with me. Maybe if I ever write lyrics for it, the title will change. I don't care to write lyrics, unless they just come to me effortlessly... which doesn't happen often. All in all it's too much of a chore coming up with rhymes. I just love writing and arranging tunes. I don't know the last time I woke up in the morning without some tune rattling around in my head. Sometimes it's stuff I'm working on, sometimes it's an annoying TV jingle I've heard, sometimes a random song that I like or even one I don't like from a pop band or recording artist.. and on very rare occasions a piece of music I've never heard before like I'm listening to a radio. The human brain is a mysterious thing don't-chya know. :)
  12. Empty for me too. Mac OSX 10.14.4 Safari =12.1 Latest OSX and browser.. safa
  13. Great piece.. Don't get the title.. Sometimes I start with a title, but as song progresses (especially instrumental).. I conjure up images, which reflect the piece. People will also take a chance to listen to, by the title alone. I'd expect some heavy death metal. or LSD freak out stuff. But, the piece is excellent and excellently constructed.. l GREAT
  14. Last week
  15. I'm very excited to share this with you all! My short piece for symphonic orchestra was premiered a few weeks ago, and I've managed to get the recording and learn how to make a video with score. It's a bit tough to see, though, so I'll upload it here as well. A bit of background on the piece: Johan Emanuel Nyström was a man who lived in the town I currently reside who, in the 1700s, sold his soul to the Devil for money. He went to the town Church and on a piece of parchment wrote a contract with the devil in pig's blood. That contract is on display at the town's museum now, so we have our own little ghost story, in a sense. He is documented as paying his taxes and being active in the Church up until the date written on the contract - after which he seems to disappear from history. This piece is based on his journey after his disappearance - the devil comes to take his soul, then knocking on the gates of Hell, and that Johan comes to terms with the choices he's made, and the consequences he faced. "Min kropp och själ i dina händer", or "My body and soul in your hands" is a line taken from the contract. Hope you enjoy!
  16. I really liked it! Your writing doesn't seem to be too high of a grade level, meaning a decent high school band could play it. Yet, your use of the material and orchestration keeps it interesting and not too "band sounding", for lack of a better term. As caters put it, it sounds orchestral without the strings - a feat not easily accomplished by many band composers. I think the length of each piece is just about right. I agree they could potentially be a bit longer, but I think as-is, the whole piece doesn't feel too short or underdeveloped. I particularly liked the 2nd movement, a bit of a scherzo feeling, and works nicely as a middle movement. In general the overall forms is great. Do you have plans for it being performed? Also, the newest version of NotePerformer costs $10/mo, and after a year it's paid for. I know not everyone can afford that, but they're a small team and definitely deserve the support if you (or anyone reading this) can. It's a great program!
  17. Lyrics: Queen Of England You’re sitting there all day long Don’t know where else that you’d belong If you want something just shout it out That’s how evetything works around It’s hard to believe this is real Have you ever asked how people feel? This situation needs a change Is intervention in the game? chorus: My Queen of England what happened to you? I miss the sunshine, haven’t you? My Queen of England what happened to you? I miss the sunshine but don’t miss you Stupid things sometimes we say Though your opinion got some weight You should line up everyone’s agenda And it would be a soft surrender chorus: My Queen of England what happened to you? I miss the sunshine, haven’t you? My Queen of England what happened to you? I miss the sunshine but don’t miss you final part: My Queen of England what happened to you? I miss the sunshine, haven’t you? My Queen of England what happened to you? I miss that time... Tell me about you...
  18. Hi everybody. We've got a new demo out. Hope you guys like it. It's called ''Queen Of England''. ================ This song was based on a film called ‘’King Charles III’’. It seemed an interesting subject to write about. I would like to clarify this is not a political statement. I've lived in England for a period of my life and have nothing to complain about. It’s just a fun song based on a fictional situation. ================ My previous songs: https://www.youngcomposers.com/t35836/new-sound-delicious-grace/ https://www.youngcomposers.com/t37009/delicious-grace-the-boy-from-memphis/ https://www.youngcomposers.com/t37305/delicious-grace-chaos-and-shame/ https://www.youngcomposers.com/t37476/delicious-grace-nocturnal/
  19. I recently completed a flute concerto that will be premiering in the fall. A few things I can share off the top of my head: I think it's unwise to write the piano part and orchestral part as two separate entities/two separate sessions. One thing I learned while writing was that you need to give the soloist time to breathe. Both in the literal sense, and also from the standpoint of the audience. The ear tires from listening to the same type of sound after awhile, so the best way to keep the ear interested is to change up the sound. When you listen to great concertos (of any instrument), there will be sections heavy on the solist, sections where the soloist and orchestra play together as a "unit", and then purely orchestral sections. Those breaks are important, for everyone involved. Write to the strengths of your soloist. If it's you, then write to your own strengths! My solist has a very good technical capacity, and also has a very strong tone in the lower register, so I was sure to make it technically challenging and wasn't afraid to write some passages down low. Some people are better at shaping long musical phrases, some are better at extended techniques, it's good to sort of "tailor" the music to what they're good at. If you personally aren't the soloist, don't be afraid to consult them during the process. Maybe some things are too challenging for them, or maybe they have suggestions on how to make something flow better. You'll learn a lot along the way! Speaking of register, another reason I don't think it's wise to write the piano and orchestra parts separately is precisely because of orchestration. You want to leave space in the orchestra to let the soloist shine through. In my case, this meant not having a lot of flute parts (as in the ones sitting in the orchestra), and generally avoiding countermelodies/accompanying figures in the same register as the solo. In your case, you have the entire piano at your fingers, which is both a pro and a con. The pro being it's a lot more flexible in terms of register, the con being you can easily go crazy and write thick passages that will come out muddy if the whole orchestra is playing something too contrary. I think writing them separately would be too confusing, you might think while writing the piano part "oh, I should do this in the orchestra", but most likely forget it by the time you get to writing the orchestra. These are all of course tip more on technical things and less about the actual act of writing music. As the others said, try everything and see what sticks. Don't overthink things, and of course have fun with it!
  20. That's it really. Listen to other concertos and see what they do. The sonata form with double exposition was most commonly used in the Classical period. Remember that this form was laid out hundreds of years ago, so you don't have to stick to it. My most commonly used form for a concerto is a sonata form, with an altered recapitulation and a long coda (which includes the cadenza.) If you are a pianist, then your piano writing will be good, so this will help you come up with ideas. I'm not quite sure about this. The concerto is based around contrast, and the symphony around unity. The point about the orchestra being smaller can, in some cases, be valid though. Good luck with both your concerto and your symphony!
  21. Not bad. It has a lot of energy. What does it mean?
  22. This is my debut single entitled "Cupidity". Please listen to it and give me some feedback! Here is a link: https://www.youtube.com/watch?v=iL5Xd2s1nbE
  23. Try everything. Just write music instead of thinking too much about it. There's no real "rule" how you should write a piano concerto, unless you're specifically copying someone.
  24. Thank you! I'm using NotePerformer, which you can get a trial version of for 30 days. You can't directly export audio with the trial version, but you can set Audacity to record while Sibelius plays.
  25. A piece I composed a while ago, but thought to share. I wrote this in response to a Reddit challenge to write a piece in a mode other than major/minor, and I chose to try Phrygian, but in practice it more or less turned into regular minor with the occasional lowered second. Nonetheless I'm proud of how the piece turned out.
  26. So I have been studying counterpoint for a long time, like more than a year. And I have tried writing fugues before because I am a fast learner and I figured that if I studied counterpoint, I would be able to write a fugue. Well, that hasn't happened yet. My 4 voice fugue attempts have always been futile(getting parallel octaves even when I'm trying hard not to get parallel octaves). So I figured that maybe, I'm just not ready for 4 voices yet. That and the fact that I have done canons before my extended study of counterpoint(mainly Bach style counterpoint I'm studying because I view Bach as the master of counterpoint and who better to learn from than the master) made me decide to do a 2 voice canon. And since all of my previous canons have been in major keys, I decided to do this one in a minor key. Now to decide on the voices. There are so many voice combinations. Here they are for 2 voices: Soprano and Alto Soprano and Tenor Soprano and Bass Alto and Tenor Alto and Bass Tenor and Bass 6 voice combinations may not seem like a lot, but it does lead to a lot of decisions. Then after deciding on the voice combination, there is deciding whether the higher voice or the lower voice is the comes voice(in other words, the voice that starts the canon). And then there are decisions related to contrapuntal techniques(like do I want it to be a crab canon(1 voice is the retrograde of the other)? Mirror canon(1 voice is the inversion of the other)? Table canon(1 voice is the retrograde inversion of the other)? Augmentation canon? Diminution canon?). I decided to go simple with this canon. No inversion or retrograde. No augmentation or diminution. As for the voice combination, I decided on soprano and tenor. This naturally lead me towards doing a canon at the octave, one of the most simple of interval canons. And I decided on doing my canon with vocals instead of instruments(which is why you will see that I don't go any faster than 16th notes in the canon). If I were to write this canon for instruments, I could easily put in a 32nd note entry. But, unless the piece is very slow, 32nds are hard for the human voice and at a certain tempo, it becomes impossible. So the fastest that I go in this canon is 16th notes. I have put a lot of text in the music, the text is my own contrapuntal analysis of it. Is there anything that I missed? And are there any mistakes besides the parallel octaves? Here is my incomplete canon:
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