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  1. 1 point
    This whole "bII -> I" is fine and all but overused. I was hoping that a use of a V/vi mod -> i could be utilized, but it was only done as a melodic pedal which briefly tricks the ear. Variation would really help. Right now it just sounds like someone improvising over a vamp. Not the best look, as it does quickly get old.
  2. 1 point
    G7 at :18 sounds really out of place with no extensions. Try b9 or 13. Same at :39. Retardation in oblique motion to a unison pitch at :26 is bad voice leading. Parallel 4ths after the Am9 chord (A/D dyad) aren't quick enough for the audience not to render a response to it. Everything is also too loud. Timbre of the ride cymbal makes it sound like it's being struck. Piano is too loud. Sax is generally fine but a bit off in this combo in terms of its use. It plays too slow and outlines a missing harmonic tone too often. Jazz arrangers like to say add extensions to every chord to make it sound jazzy, but it sounds like you took it too literally here. The last three chords all have 7th's but the voice leading is off (standard root position is awkward) so they all sound a bit off.
  3. 1 point
    1. Just start composing. Don't worry about whether it's "right" or "good," just start putting ideas on paper. If you wait until you know enough to start, you'll never start, because there is always more to know. 2. Start sharing what you write. The faster you start getting feedback, the faster you can grow from that feedback. If you wait until your work is good enough to share, you'll never start sharing. 3. Give other people feedback on what they compose. Beginner work follows patterns that make it less strong than it could be. I won't say they are "mistakes," because every art form is so subjective, it's hard to ever point at any one decision the creator made and say it was "wrong," but there are things all beginning composers seem to do that make the work less impactful than it could have been. Instead of highlighting your audience's enjoyment, they undercut it. It's hard to see the problems in your own work, because you're too close to it. It's hard to accept it when people point the problems out to you for the same reason. But if you look at enough beginner pieces by other composing students, you'll start to see the patterns for yourself and notice what beginner pieces all seem to have in common, and it becomes easier to appreciate the advice others give you and avoid or fix issues in your own work. 4. Start reading about theory and orchestration. Read musical analysis of famous works by famous composers and also the feedback given by and to other composing students here. There is a lifetime of material to learn, so there's probably no wrong place to start reading. Just start and let each question that comes up lead you down a rabbit hole to new reading. What you read will inform what you want to try with your latest composing project. (Hmmm... cadences... right, let's see what this sounds like if I end it with an authentic cadence...) And sometimes what you are composing will inform your reading. (This doesn't seem to be a major scale or a minor scale, but it certainly sounds like it is a something. Maybe I should do some reading about jazz scales and it will turn out to be one of them). 5. When you listen to music, or play something for your piano lessons, start thinking about what parts you like and why, what parts you don't like, and why, and how the piece is structured on a large scale, so you can apply those structures or those things you like to your own work. Welcome to the club! We are all here because we are learning too!
  4. 1 point
    Hi Gustav just listened to your piece! I'm not really into atonal sounding pieces (except if it used as an effect) so i will not comment on the piece itself. I just want to react to what you wrote in the description to clarify the method i described before: Yeah that's true, however while the aim with this method that every line on one hand should be independent and should stand on its own as good as possible on the other hand it should sound good together also (one should be able to synchronize their vertical and horizontal writing and balance them). Your free lines are your horizontal lines but the resulting chords are your vertical structure and one should keep attention to this also how you leading voices or how your chord progression sounds. It's not an easy task i know i try to learn this as well, just wanted to point out that if you were to aim for a atonal sound that's perfectly fine, but one can write 'diatonic sounding pieces' with this technique also or write in any style really. So don't think about it as mixing modes randomly to generate random results. One can pick scales that are close to each other also, point is to have a logic in your mind and aim and to learn not only to start writing music by writing block chords first (vertical structure), but one can start with free lines (melody and countermelodies, free lines etc- your horizontal structure) as well. If one are able to balance these two really good results can be achieved.
  5. 1 point
    Hello, everyone. It's been a while since I last posted anything, and I finally have a new piece for you all to listen to: the Fantasia in F-sharp minor. I consider this piece to be my most ambitious work for piano, and also my most personal work. It is also my now-longest composition, lasting roughly 32 minutes in length. The Fantasia is in 3 movements: Movement 1. - Ballade: Moderato serioso (F-sharp minor) Movement 2. - Barcarolle: Andante (F-sharp major) Movement 3. - Finale - Tempest: Moderato - Allegro appassionato - Maestoso (F-sharp minor-major) Here are my performances of the movements on Youtube: I hope you all enjoy. 🙂 Theo
  6. 1 point
    Hi. First of all, I like this piece. I went to listen to @ComposerMITA his piece for strings. I haven't used this technique ever although it seems quite interesting. However, I have some doubts: the result here (for me) is like free atonalism, let's say not "heavy" atonalism, since there are tonal centers that come and go. There are several lines and putting them all together give that effect for me. I have worked on pieces mixing different systems, languages, modes, or whatever, but using layers, I would say, clearly different ones. Perhaps, the aim is different, because in my case I intend to make the parts independent but sounding good together. With this system the result is more textural.
  7. 1 point
    Music that reminds me of dog sitting Audio: Andante_Comodo.mp3 Score: Andante comodo.pdf I wrote this on a ranch. I wrote this at the radio station, late late at night. It’s a song of love. It’s a song about feeling alone. On the day I finished it, I also finished On Chisel Beach by Ian McEwan. This music wrapped itself around that story, and both were planted deep into my brain. Both the music and that story complain and ache and worry, they both drag it out when it doesn’t need to be that complicated. Both improve with age, with patience, with repetition. On the day I finished it, I fretted in my journal about composing too slowly. I wrote my journal entry on some sheet music. Writing words on sheet music is easier than writing music. Maybe I just need to write music as often as I write words. This song reminds me of sitting up until all hours of the night, on a couch that wasn’t my own, in a strange house, watching WWII documentaries and checking to see if we’d accidentally let the coyote eat the cat. It reminds me of the last grasping days of college. I was spending most of my time grasping, grasping at what?… grasping at something. It reminds me of emerging from a dark cavern to greet the morning sun. It reminds me of waiting, waiting, waiting to grow up. Years and years and years after I finished the music, I played it for someone. She said, “You’re really starting to get good at this.” I pretended that the music was truly new.
  8. 1 point
    I just discovered the Jazz, Band, Pop, Rock page today. I honestly had no idea this place existed. So here's one of my Rock songs that I wrote, recorded and produced. It will be included on an upcoming EP that I have been working on.
  9. 1 point
    I notice I have a bad habit of disappearing from this site and reappearing randomly with new music but here we are now. The title is a work in progress still. But other than that, this came to be a thing when I looked outside one morning and saw it was snowing outside and the beginning of the piece stuck in my head and the rest is history.
  10. 1 point
    Audio: Allegro.mp3 Score: Allegro TOTALLY DONE.pdf The date was September 24, 2006, my 22nd birthday. Erica and I decided to have a picnic in Meadow Park, share a bottle of wine, and take a nap. It was during this wine-induced nap that somebody walked into our house, in the middle of the day no less, while we slept peacefully in the bedroom, and stole my laptop. This particular laptop happened to contain all the music I had ever written up to that time. Was it backed up somewhere? Of course not. After all, my laptop had never been stolen before, so why would I need to back up everything I'd ever created. Nope, it was all right there, and someone stole it right out of my house in broad daylight. I never saw it again. The thief did not take our DVD player. He did not take our television. He did not take my car keys or the stereo either. He didn't even take the laptop's power cord. Just the laptop. And of course my very reason for living. When I awoke from my cat nap, it took me a good half hour to realize the laptop was gone. I won't try to put into words what went through my head except to say this: all of my art was destroyed that day. I had no website, no hard drive, no printed copies. I felt like a victim of fire. I was completely alone with my grief. Ok I was able to salvage a couple things. While ravaging through my belongings looking for any sheet music I could find, I miraculously discovered some printed pages stuffed down into a drawer. The pages were the original versions of what would later become the third and fourth movements of my first piano sonata. I was also able to copy down from memory the scraps that would later become the last movement of my first string quartet. Other than those tidbits, everything else was taken forever. My entire career as a composer up to that point was a blank page. I'm not sure how long I waited until I tried to sit down and write something again. Maybe a month. Whenever it was, when I sat down in front of that blank page, I actually felt very free, despite my sadness (and rage). It was as if all my musical baggage had been tossed unceremoniously in the trash can. Whatever genre I had been trying to fit into, whatever musical puzzle I had been wrestling with, whatever inadequacies I felt about my completed work - they were all completely moot now. I was born anew. So I sat down and wrote a violin sonata. I had never written for the violin before, but my approach was to write as if the instrument could do anything I wanted it to do. I wrote that way for the piano too. No more feeling constrained by my own lack of pianistic ability. I put on that page whatever I damn well felt like. It felt good. And somehow, despite all the pain, the music was chipper. Even at my darkest moments, my music comes out chipper. Maybe it's just who I am, or maybe that's how I cope. My brain might feel all doom and gloom, but my music is sunshine and rainbows. This first movement is the first piece I wrote after my babies were taken from me. I completed the movement in March of 2007. It is very much a classical piece, straight up sonata form, repeat bar and everything. It might not be genre shattering, but it was a very open and freeing experience for me to write it. It's what I was feeling at the time. It's what had to come out.
  11. 1 point
    Wrote this in a day about a year ago. It's nothing special but thought it was decent for my first composition.
  12. 1 point
    Those lovely fast bits around 0:53 really added a nice dimension. This strikes me as confident composition; you seemed to know what you were going for, and you went there. It paints a lovely picture: a bit antique, warm and inviting but also a bit off-putting. I like it, and I'd very much enjoy to hear how it contrasts with other vignettes from the suite.
  13. 1 point
    This is my 5th soliloquy for harp. I had previously posted my 2nd, 3rd, and 4th, but they all got erased due to the renovation of the website in early May 2016. I might post one or more of them in the future as part of my repostings of older, deleted pieces. Meanwhile, I hope you enjoy this one.
  14. 1 point
    Interesting... It definitely does make sense to have a "sound." No sense attracting someone to follow your work with one piece, and sending them packing again with the next one. But it's possible to achieve the same commercial goal by specializing in music for a certain type of musical group, and still being able to play around musically with the sound from piece to piece. If you look at some of the big historic composers, they often carved out a stylistic niche based on the players who were consistently available to them. If you had trumpets and the cathedral in other important cathedral town didn't, by gum you were going to show off your trumpets as prominently as possible, and to balance that, you would make other stylistic choices. If the princess was studying harp, you would show a sudden interest in the instrument yourself, and that would lend itself to certain other decisions.
  15. 1 point
    Sure. I should have given the question a little more thought. But I'm not sure there is a way to ask it without sounding vague or naive. I wanted to know if you think you have a style that is particularly unique within your genre. Such that when people hear it they know it's yours. Or if not, is it a goal worth working towards - if that is even possible. Composers with very circumscribed styles can be very successful, if only because they are recognizable. Minimalism comes to mind. Having a schtick helps in the commercial sense because your product is dependable and proven, like anything else for sale. Make sense? Now I was thinking about Hans Zimmer, who people have commented on right here. People seem to think that he has a style, a 'sound'. The Hans Zimmer sound. When film composers get hired the director might say, "I'd like to get that Hans Zimmer sound." But does he really have a sound? He did a couple of films like Inception and Batman and suddenly he's got a sound? But if you heard his score for "A League of Their Own" You'd say, that doesn't sound like Hans Zimmer at all. Now, when Hans himself gets hired for a film and plays his cues for the director, he might look disappointed and say, tactfully, "This is quite good Hans ... but what I'd really like to get from you is that Hans Zimmer sound." Now he must parody himself! (We should be so lucky to have his problems, right?) I am just wondering if people find the idea of being a totally original composer all important. Thoughts?
  16. 1 point
    Thanks for your comments, Gustav. the good thing about suites is that you can add more on and take some off, depending on what works and what doesn't. I think I'll replace the second movement with something more in keeping with the others. The line you quoted is a written solo line and not meant to be developed except maybe if I had a relationship with some percussionists I could approach the score more as jazz with a lot of 'ad libs' peppered all over the place with repeats, as they soloed over the chords. As it is, I should probably stick with the hypnotic ostinatos. Your comments were very helpful!
  17. 1 point
    Couple general notes: Use metric modulation notation between 4/4 and 12/8 (i.e. triplet = eighth in 12). Easier to read than doing math mid-sight-read. Good use of horn pedal in the beginning. Consider a stagger between parts or an offbeat rearticulation to sustain the tone. Going from 60 to 100 was a bit awkward. Maybe an accel? The first trip to 12/8 was way more awkward than the other ones, because you have the snare switching times in the middle of a roll. It takes away from the seamlessness of such a transition. On that note, you cannot use half notes in 12/8. Use ties to sustain the beat. My next personal step would be to elaborate on this one idea a bit more by transferring melodies and registers to feel like a cohesive section. Don't feel limited by the eighth notes as part of a melody; using the same thing in augmentation with suspensions in the normal figure against it can sound really cool especially with harmony changes happening under. You can use prime form (013) to create inversions on the theme you have. Use a refrain from the beginning for another slow section (ABAB kind of) then finish with a more driving similar idea to the first B section.
  18. 1 point
    It's pretty spiffy! But to make it more spiffy let me address only the production aspects. I would EQ some of that boom out of the bass (mostly in the beginning) and reduce the loud parts that seem jarring.Make the loudness more uniform throughout. Happy whaling!
  19. 1 point
    It's generally a very good piece. I don't think you use the upper percussion too much. If there's one thing I was to gripe on majorly it would be the overall pitch (as opposed to pitch class) range of the band; it's very constant, even if in different dynamics, and it makes the piece sound a little static. I get that support in the bass or upper voice is pretty standard orchestration practice, but I hate it when it's taught that way. But for a normal band who doesn't care about this stuff, it's a really good work.
  20. 1 point
    There seems to be a little bit of Klangfarbenmelodie with your timbres, but not all of them blend super well. The passage at around :28 lacks cohesion because of a lack of octave equivalence. Mode mixture between major and Mixolydian modes was nice, but underutilized. Cymbals can be quieter. The pseudo modulation to the relative minor was cool in the way it was underplayed/unannounced. I don't think it works super well to not announce the return, however.
  21. 1 point
    This sounds really complete. Nice work. 16th note runs in mm. 12, 14 I was little put off by, since they relate very little to what we've seen (even though I do see the elaboration of a simple central turnaround), and the ending with its prolongation of the i chord was, I feel, a bit unnecessary, but the parallel 5ths at m. 11 and the cadence before the repeat were nice to hear.
  22. 1 point
    Cool idea, love the sounds you crafted for this! The cymbals seemed a little overpowering to me - I would consider finding moments when you could bring the percussion down into the background more, that way the other sounds have a chance to be featured. I would also consider making at least one phrase have a change in percussion pattern. Good ambient track! Gustav
  23. 1 point
    Recently, I tuned my guitar's four low string like a Cello (I kept the G, tuned D to C, A to F and E to B-flat) and added a Capo on 2nd fret. It really sounded amazing (When I Capo-ed it, it really gave me a Cello tuning). So, I decided to record this piece. I don't think I make my guitar a Cello again, but I think it's cool to give it try, at least once!
  24. 1 point
    I present another sonata, this time for oboe (English horn) and piano. While I have included a program which outlines my thought-process, I find it important to include that this work is one that is important in defining my individual style and voice. It is energetic and narrative, and it progresses in such a manner which it highlights the leader of the duo -- the oboe. Enjoy!
  25. 1 point
    Pro Tip: Keep all your stuff backed up yourself; and keep backups of your backup. Don't rely on any one place to keep your work, let alone a site that's certainly not dedicated to being your storage locker. Just sayin'... any lost files should be a minor inconvenience at most.
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