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Showing content with the highest reputation since 09/16/2018 in all areas

  1. 1 point
    This is my submission for the Young Composer's 24 Prelude and Fugues project. I decided to be a little bit modern with the prelude and more Baroque ("correct" style) for the fugue, but not without hints of modernity. I also tried to make the the prelude a mock inversion of the fugue's theme to make them a bit more connected. I haven't done something like this in a while, so it was cool to revisit this kind of writing!
  2. 1 point
    HELLO!!! Here is my piece called "3-4-5". I know, the title is pretty strange. That is why I am adding pdf file with the notes, so you can check it and find out, why the piece is called this way! Otherwise, if you have any questions or feedback, please feel free to leave them here or in PM. (Hopefully, pdf is not empty this time) Wish you all the best!
  3. 1 point
    More than "Etude" it's lika a Fantasy. I think you have lots of good material here. You could split it to make other things, but I like it the way it is.
  4. 1 point
    So I read the description of your video, and the way I interpret this is that you're attempting a series of minimally connected vignettes that relate only by general motif. However, the composer's intent is rarely important when it comes to listening to music so I'm going to do my best to look at this without a score. To me, there's a general lack of a dramatic arc to the music. Not only is this caused by the form, but the orchestration, especially near the end: you finally decide to stick with one style until the end, but it's not very finale sounding, even though I think you want it to be. In other words, your ending is less convincing of an ending than some of the other styles you put into the piece. You rely too heavily on the component parts (octave pedal and arpeggiated structures) that the registers are never filled and it ends up sounding empty. In addition, there are too many times where you pull the "dramatic buildup that leads to nothing" trick (it was extremely annoying at 4:57), and I found it to be rather irksome as the piece went on. This combined with your general lack of classical transitions (which would make sense if this was a more modern piece, but it is not), outweighs the connecting power of motif, in my opinion. It was strange to me that orchestrational repetition was your crutch to repeat certain parts in your more contrapuntal areas. You have a general sense of your harmonic structures (save a few awkward transitions), but in places like 3:10 and 1:43 the repetition of the two note figure discerning the harmony was extremely pronounced and generally non-fluid. Takes away from some of the better moments throughout the work. You also often structure your measures in such a way where it seems like every measure is essentially an elaboration of a chord with arpeggiation and nonharmonic tones used to slightly divert from that path. Normally this is used as a pretty interesting buildup tool, but again, if used to often, the effect is lost. Starting at 3:45, you have D, E, F#m, C#m all relatively clearly pronounced, which is fine, if this wasn't so common a technique you implement within the piece. Everything starts to sound like a cliché at that point, and I generally don't like audiences to just casually listen to music without thinking. Touching on the form of the piece, each section is varied on its length. This is generally okay, but the shorter vignettes don't particularly sound like intentional tidbits of music; it instead sounds like you don't really know where to go from there. In other words, it has the potential to sound like lazy writing, and this problem is exacerbated by the lack of smooth transitions. Because it's clear much of this piece is cinematic in nature, rather than strictly sticking to any past tonal forms, your journey ends up having too many plot holes for it's own good. The harmonic of this motif, when it does switch is extremely welcome, like near the end at 5:24 (even though the first E∆7/E7 polychord is a little odd), especially when it resolves to A major. The rest of the time when you're exploring your VI - VII - i progression becomes stale since very rarely is that developed. So many opportunities to reharmonize the motif and it was disappointing to not get as many different views of the theme as I could have. In other words, development was very selective. Overall, the piece certainly works, I just personally find it a bit too randomly structured, even if it was very structured in your own mind. Provided you have your theoretical reasons for your choices, everything I say here is worthless. Just offering another opinion.
  5. 1 point
    I feel like vowel choice at the end was kind'of random. I sounds like you were doing overtones but I can't tell because you only did it there. But besides that it's a great chill out song. definitely something I'll listen to when I'm relaxing.
  6. 1 point
    I agree with @Luis Hernández. When you break out of the main motif, there are many clashes and strange dissonances. That said, the rest of the piece is lovely! Thank you for submitting this.
  7. 1 point
    Can't argue with that. I'm not. Finishing up bachelors right now - I rushed through Music Theory and History degrees so I could get to what I'm actually interested in: semiotics. Wasn't really learning much. Starting a doctorate in theory as soon as possible. Basically, whenever I get bored I practice writing with rules again. Tonal fugues, 12-tone music, spectral music, etc. Gotta practice it sometime if I'm going to have to teach it.
  8. 1 point
    I'll focus on Return to Kashmir: :48 - B# leading tone sounded a bit off since it wasn't substantiated with anything besides a upper register tonic drone, which is a bit of a strange choice. It's generally better other times, until the end, where you have the B# turn into a major triad, in which the mediants of B# major and C# minor are enharmonically equivalent. Melody takes back seat in this piece. Heightens a sense of repetitiveness, especially in the B section. C section was best with shifting times and rhythms. Great drop section.
  9. 1 point
    The only thing I've heard of Britten is The Young People's Guide which was featured in the film Moonrise Kingdom, a cool film. But this seems very appropriate for its stated goal. It has lots of drama with relatively straitforward harmonies and a good use of first inversion chords so that the bass players have something to do. And the persussion section. Really nice.
  10. 1 point
    Perhaps the main motive is too short to hold the piece. In all, the piece is interesting. My main concern is in measures from 25 to 32 because there are many dissonances. Usually I like dissonance but when you come from a pure tonal atmosphere, they are heard as mistakes. Sometimes they form three-note clusters or harmony by seconds that in this case is a bit out of place. Not all the crashes are important but in the beginning of each pulse, they are. If you prepare the atmosphere well, the dissonance is welcome.
  11. 1 point
    This soliloquy has a nostalgic feeling, at least for me. It works well in the violin.
  12. 1 point
    Very nice music. I suppose even more attractive in the game.
  13. 1 point
    Very nice job overall! I really liked the style. Menu: Some of the chord changes (and some notes that sync with them) seems to go "outwards" to stimulate my brain in a weird way, and I think the menu should keep the player chilled and relaxed while making the choice, so I'm not sure if these chord change ideas are useful.
  14. 1 point
    It's not the end of the world .
  15. 1 point
    Hello! Soanta for Oboe and organ written (05.09 - 06.09.18) in the early italian musical language. For me its good to be back to the roots. The early italian language has for me always been the style of music that is able to express the most emotions from joyful and elegant fugal themes to slow movements full of suspensions. Been a while since I wrote something in this style though. I hope i live up to the task.. So here it is, my" happy" sonata in c major. I. Grave II. Allegro III. Adagio IV. Vivace (Fuga) Please tell me what you think!
  16. 1 point
    I love classic, adventure films like Indiana Jones, Zorro, Cutthroat Island, etc. So here is an action theme with a similar aesthetic.
  17. 1 point
    This is what I do. When I learn something, whatever (a scale, a mode, a rhythm, added chords, chords by fiftsh, etc.........) I write short things to aprehend those elements and to feel how they work and sound. These are not compositions, only exercises. I don't care if they are good or not. With time, I try to combine what I have been learning. This is, perhaps, more difficult, but it is the essence of composition: taking many tools you know, and pick those that fit in you idea.
  18. 1 point
    Hi all, So, I've been away from this site for a few years - long enough that I find it has changed and my profile is completely empty! It's time to change that. In February, I had the opportunity to perform a recital of my own works, this trio among them. My colleagues and I decided afterwards that it would be worth the trouble to do a house recording of it. This is the result. My personal musical preferences lie squarely in the conservative German branch of the 19th century, and I've always believed that a composer should write the sort of music he or she likes to hear. That's what you can expect from this trio with respect to form, harmony, rhythm, and so forth. It's in four movements. The first movement is a traditional sonata-allegro with slow introduction. The second movement is a scherzo and trio. The third is a theme and variations, based on a melody I wrote when I was 13 or 14 (side note - NEVER throw away the ideas you compose when you're young!) The fourth movement is rondo-like arch form. I hope you enjoy listening to it as much as we enjoyed performing it! I have decided against posting the score. I hate to have to take this stance, but as an essentially unknown composer, I am deeply reluctant to post my scores to an internet site that is open to the world when I know colleagues who have been victimized by thieves stealing their works and claiming them as their own. Even with a legally copyrighted work, it is stressful, time-consuming, and expensive to take these people to court. I apologize to those who would have liked to see it.
  19. 1 point
    I'm not a huge gamer by any stretch of the imagination, but this song is so well-crafted in every way: chordally, orchestrationally, atmospherically, timbrally. Regardless of the gaming relation, this just captures so much fun and energy. Props to Kubo for a delightful arrangement.
  20. 1 point
    Theo, it took about two months to compose in the summer of 2016. I haven't written anything since; composition demands time, and I'm at a stage in my life where time is in very short supply. Like you, I have a profound admiration for the chamber music of the 19th-century masters. We are incredibly fortunate to live in a time where access to such music has been made so easy.
  21. 1 point
    The sounds remind me of the Mongolian tribes that had trained themselves to sing two pitches at once. Useful for physiological effect. Many of the electronic pieces I hear here start with a soundscape, then quickly devolve into some kind of dance beat. It's become a clichè. But yours kept my interest with its imagination and not letting the drums take over everything. Plus, it's in German and I have no idea what you're talking about. This too is very interesting.
  22. 1 point
  23. 1 point
    This is my entry for the 2017 Summer Competition, scored for solo piano, based on dadaist and surrealist art works of the 20th century. I hope you all enjoy.
  24. 1 point
    This is my entry for the forum's summer competition. The 4 pieces in the suite are based on the following abstract expressionist art: 'Vir Heroicus Sublimis' by Barnett Newman https://www.moma.org/collection/works/79250 'Autumn Rhythm' by Jackson Pollock http://www.metmuseum.org/toah/works-of-art/57.92/ 'PH-129' by Clyfford Still https://clyffordstillmuseum.org/object/ph-129/ 'Landscape at Stanton Street' by Willem de Kooning http://www.tate.org.uk/art/artworks/kooning-landscape-at-stanton-street-p77158 Here are the score-videos for each the pieces. 'Vir Heroicus Sublimis' https://youtu.be/q9g-3ff7m24 (for this piece, I'd strongly recommend reading the program note at the beginning of the video before listening to it) 'Autumn Rhythm' https://youtu.be/vTQBn4VWz4c 'PH-129' https://youtu.be/IgPXB1T1cRg 'Landscape at Stanton Street' https://youtu.be/iB8_38S7jdY There's also a YouTube playlist of all the score-videos https://www.youtube.com/playlist?list=PL5bWnXp9PjtS8mePM3xsTz5ebT3z8ZxWp NB: The full program note is in the pdf score.
  25. 1 point
    Hi all! Challenges is something new I am trying to stimulate activity here and also to stimulate the composers' minds around here. You can now start your OWN topics in this forum. And, members can create Challenges, which are anything from mini-competitions to simple time-based things. To start a challenge, here are the steps: Make a thread titled: "Challenge: ______" insert a subject you want to call your challenge. In the thread itself, describe the challenge and if there will be a deadline to complete it. Post it. Examples of different types of challenges: Compose a piece based off of this melody/motif. Compose a fugue based on this subject. Write something for paper clip and soprano. Set this text to homophonic choir texture. Write a string piece using only natural harmonics. Write a baroque suite, learn the dances, and post a video of you dancing to your suites. Write a piece using ONLY this melodic idea. Write a piece using all chromatic tones in every voice. Take your favorite pop song and arrange it for classical singer and piano. Write a piece in under 60 minutes! See what happens. etc. The idea is to come up with little creative exercises for composers to think outside of the box. Yeah? They can be any length, any instrumentation, there are NO rules to this. if nobody wants to participate because you've made a challenge too difficult, that's YOUR problem and you should revamp your challenge to be more accessible. Ask questions below. :)