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  2. 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!
  3. 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!
  4. Today
  5. 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...
  6. 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/
  7. 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!
  8. 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!
  9. Not bad. It has a lot of energy. What does it mean?
  10. Yesterday
  11. 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
  12. 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.
  13. 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.
  14. 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.
  15. 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:
  16. It just feels a little bit... meandering to me. The violin writing is virtuosic enough, and as a violinist myself I appreciate being given a nice technical challenge in a concerto. But perhaps it's a bit much for a slow movement? And it also feels like it lacks direction -- it kind of gives the feeling of just showing off for showing off's sake at times. You have some great melodic ideas, but they're usually best expressed in your orchestration instead of the solo line, which is unfortunate. Maybe the solo line just sounds bad in the computer recording -- that's always possible, so that a human player doing this could add some nice expression, phrasing, and direction to the line. But my instincts tell me that's not really the case. The orchestration also feels unduly thick in some places, and liable to cover up the soloist. A soloist can't really compete even against a partial tutti. I had issues projecting successfully over the orchestra when I soloed on the Kabalevsky concerto a few years ago myself, and compared to this, Kabalevsky's orchestral parts are rather sparse -- and they're still borderline too heavy.
  17. This is powerful and a bit sad. I love it. This is music my heart "understands",.... Thanks!
  18. Well in this case, I am wanting the canon to build up to as many major and minor chords as possible. So that is why I'm thinking primarly in terms of chords and not in terms of melody. And the fact that I want this canon to feel like soldiers marching is why I decided on the repeated rhythmic cell. Plus, right after this I plan on having a flute melody that sounds like a warning followed by a trumpet solo to get the idea across that the hero's troops are charging into battle.
  19. This is hard to imagine. You are thinking counterpoint in terms of chords as the most important feature, not as melodic lines.
  20. So I had this idea to have a march in canon. So I would have a rhythmic cell like this: to give a march-like feeling. I have decided on 6 rhythmic cells before a note change and going up 1 note and then down the entire major scale. To make this not seem boring, I decided on having the march in canon with 3 lines(second line comes in 3 cells after the first line, third line comes in 3 cells after the second line). I also decided to have a close transposition, to make it sound like there are chords being played. So I tried starting with a 3rd transposition and just 2 lines. But this lead to there being a second between 2 notes which was repeated. I figured this was too dissonant, even though I usually think of the most dissonant interval as being a tritone. So then I tried a 4th transposition and it sounded beautiful, with only 2 dissonant intervals, both being tritones. Adding a transposition by a third on top of that meant many more tritones, diminished chords, incomplete 7th chords, sus chords, and probably some chords that you could only describe by the details of the intervals. But I was wanting it to sound like chords, just not with a lot of dissonance. I got second inversion C minor chords this way and of course, the ending tonic major chord. But those are about the only consonant chords I got. But would a transposition by a 5th for the second line and a transposition by a 4th from the second line for the third line, which would ensure consonance be considered close? I don't think so because then you have basically power chords throughout. Transposition by a fourth over another transposition by a fourth would give a lot more sus chords in second inversion, a jazzy chord. Not what I was aiming for either. So if this won't work, will I have to adjust transposition chord by chord to make it sound like major and minor chords(which is what I was aiming for, not dissonance or a jazzy sound). This march in canon idea is really an idea for a theme in a symphony related to war. I figured that if I could put a symphony to words, it would be easier to write and not so overwhelming. So how can I have a close transposition in all the lines while also ensuring consonance with maybe a few 7th chords or diminished chords where I get those tritones in the first 2 lines? My canon I plan on being a strict canon, so timing and pitch are the only ways to tell the lines apart.
  21. Last week
  22. I haven't written much for quite a while but was messing around on the piano and decided to work on a simple idea and add a jazzy variation. Probably could use some polishing. Comments and critiques always appreciated.
  23. Very nice orchestration! Each detail is accurate. The choice of the piece is great, I really love that sonata. Congratulations!
  24. This is a piano piece I recently composed Roberto Zini - Pianistica Visione I hope you like it.
  25. Hi Stewboy, nice piece of music! I remarc the wide range of wind instruments you used, that makes it sound very ritght in timbre. I specially like the begin and the end of the 3rd movement, it sounds fresh, with nice rithom...I also like the use of percussion. Well done!
  26. Hi caters, you are right. there is a lot of Alberti bass in here. It's just a piece a wrote about 10 years ago. I just tittled it estude because it's a short piece quite easy to play 😃
  27. Thanks for the appreciation and for the suggestions. Effectively, when composing for an instrument, I should take care of its behaviours, and how it has to be played. But I haven't yet such an aknowledgement about that. I really appreciated your advices. Thanks again.
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