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Showing content with the highest reputation since 11/06/2019 in all areas

  1. 3 points
    The suite's finally up! A lot of movements have been posted here already, but it is a different experience all the way through (if I do say so myself 🙂). Movements 3 and 5 have not been uploaded here before if you want to skip to those, though. Enjoy!
  2. 2 points
    I love this! I think it's incredibly beautiful. Where'd you submit this? And what's the piece/subtitle about? I noticed a few things about your notation that I have questions about (and I too use musescore so I understand the struggle it is sometimes lol): Your rests in the non-playing staff are inconsistent -- for example, in measures 1 through 3, each rest is marked differently. It might be better to be consistent and change every rest to quarter note values. The main issue I had reading through your score, however, was in passages such as measure 4, where there are constant sixteenth notes exchanged through the hands. A possible solution is to just make the rests invisible to stress that the passage passes throughout the two hands, as Eric Sammut does throughout his 4 Rotations for Marimba (Performance of Rotation II: https://youtu.be/8hAGcUKHFuI?t=18; Sample of score: http://www.lonestarpercussion.com/Sheet-Music-Books/Marimba-Solos/Keyboard-Percussion-Publications-KPP-SAMM-FR2-Four-Rotations-for-Marimba-II.html -- pages 1 and 2 are available in images). (To do this in musescore, select all applicable rests you have and press [v] to make them invisible.) Also, I think it would be easier to read if, at spots such as 25, the rhythm starting at beat 2 were written "eighth, sixteenth, sixteenth-sixteenth, eighth, sixteenth" (see a similar example in marimba 1 part of Steve Reich: Mallet Quartet). Other than that, beautiful piece. Subscribed, and I'm gonna go listen to it again.
  3. 2 points
    Jesus, man, how much are you paying for this?
  4. 1 point
    When I did a cleanup of my old files, I found the beginning (first 15 bars) of a waltz. My intention (back in 2010) was to write a piece as homage to Chopin on occasion of the celebration of his birthday in 1810. However, I abandoned it, because I had too many other ongoing projects. Instead of deleting it, I now finished it last week. I have to say that it was really a useful experience to write something in a Chopin-like style. The first phrases and their repetitions later on in the piece are of course very, very much Chopin, but there is also a lot, which is different. I would be curious to know what you think of it (thanks in advance for your feedback).
  5. 1 point
    I'm not sure if this is the right forum to write it there, but... well, nevermind. I just need support. I'll be glad for any answers. My sad story began in September when I started attending a conservatory. It was my dream for a really long time so I was excited about that... But there's one thing which is very important for the story: I suffer from manic-depressive states. For some stupid reasons, I haven't sought help until this June. My treatment is in phase "we'll try this medication and see what it will do". So, as I said: I was excited about the conservatory. But then the depression came and it was really bad this time. Music stopped making sense for me. It became a bunch of strange, illogical sounds. I literally wasn't able to compose anymore. Then I stated attending a technical university (because studying two schools simultaneously is really a great idea) and it went even worse. I couldn't do all the things I had to do. I thought it would be better if I would be dead. And so on... many other things that depressed people usually do. I had to leave the conservatory. I left the school only temporarily for now so I can return there. But I'm not sure if I'll be able to do so. I talked to my composition teacher about my problems. I didn't want to do so, but I was meeting him for quite a long time and I thought it would be rude not to tell him anything. He told me that he had a student who came from a technicians family (as well as me) and had hard time pushing ahead his career as a musician (as well as me). He developed schizophrenia during his study, stopped to be able to attend the school and slowly found out that music was actually the trigger of his illness. Maybe music is the thing which is causing my problems. And maybe not. I don't know. I'm not sure about anything. However, I was still feeling bad until I've got better medication. Now I feel better, so I can think about stupid things, such as "my life has no purpose now" or "I could have became a great composer and now I'm a substandard programmer". Music was always kind of mission for me. And everything I've ever dreamed about has disappeared now.
  6. 1 point
    Hello everybody! This is my latest piece, which was inspired by composers such as Arvo Pärt, Francis Poulenc and Samuel Barber. It was also a study into the use of artificial harmonics and textures. It's also important to note that the harmonics won't sound that clear in real life. However, I structured the piece so that the first parts of the music won't require clarity of the individual lines. The last third of the piece has almost no harmonics so that It becomes more "meaty". Anyways, I hope you all enjoy it, and as always, feedback is greatly appreciated!
  7. 1 point
  8. 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
  9. 1 point
    A little and quiet piece for this month. November.pdfNOVIEMBRE.mp3
  10. 1 point
    Hello, It has been a while since I have active on this forum. Please accept my apologies. I will be more so going forward. My musical projects mostly revolve around learning and applying classical "patterns" to my own work. For those who are interested in learning about these patterns, I would recommend Robert Gjerdigen's book, Music in The Galant Style, as a starting point. Listening will also help a great deal as it will enable one to learn to recognize patterns by ear, and hear how they are strung together. Galant music is very accessible, as with its simplicity as, generally speaking, the increasing complexity of counterpoint up until the 1750s was intentionally scaled back in favor of more straightforward and relatable melodies and harmony. The schematic guidance should enable the composer to produce a skeleton for the sequential events in your music. This makes it particularly useful for there will always be inspiration to draw from. How interesting you make it will depend on your character and experience. By way of illustration, I will go through one of my works with a step by step guidance on the schema used (please see attached score and visit http://openmusictheory.com/schemataSummary.html for a free reference which illustrates each schema used here). Please also consider visiting you tube channel https://www.youtube.com/channel/UCugHqLqLkl8Rwq0E7hxJDxw which contains audio examples of many schemas, or pattern discussed here: https://soundcloud.com/markus-alexander-boyd/largo-for-winds Bars 1-4: This is basically a sol-fa-mi, where the upper melody moves step wise from the 5th degree and cadences on the 3rd degree. I have varied its presentation, however, resulting in a harmony, not entirely consistent with the schematic design... Bars 5-8: This consists of a step wise ascent from the 4th to the 6th, in the clarinet, and this is to prepare for converging cadence moving the music to D Major to prepare for the second subject. To quote Robert Gjerdigen, "The converging cadence was an exceedingly popular schema and developed several sub types with characteristic features". This sub-type is one which falls from the 6th degree (of G) and closes on the 7th (or 3rd or D), whilst the bass ascends chromatically to D to resolve the passage. Bars 9-12: This is a Meyer, which I use regularly in my music due to its versatility. In its basic presentation, the the upper voice ascends from the 1st degree to the 2nd (which I treat as the question) and is answered with an ascent from the 7th to the 8th. Meanwhile, the bass moves from the 1st to the 7th, and the 2nd to the 1st respectively. Here, I varied the roles somewhat. However the basic outline is there. Bars 13-16: This is a Prinner, which presents a step-wise descent in the upper voice from 6th degree to the 3rd, whilst the bass moves 4-1 respectively. The former is played by the clarinet, however, with 7-6 suspensions. Basically, in accordance with the Prinner, the upper part descends in thirds with the bass. The bass as it does here also moves from 2-5-1 to present a convincing cadence as a standard. Bars 17-24: Here I deviate to the relative minor with suspensions over a dominant pedal in the key of B Minor. The oboe, similarly to the prinner, is descending form the 6th to the 3rd of that key, with a suspended 4th above it. However instead of resolving on the 3rd, its stops on the 4th which enables the music to return to the dominant chord of D Major. A perfect cadence in D is then prepared however the sharpened A, resolving to the B, momentarily returns to B Minor. Bars 25-29: This is Prinner, which is an elaboration of bars 13-16, which prepares for a long cadence in the key of D. Second Part Bars 30-33: Primary subject with some variation Bars 34-37: Responds with Prinner, thereby resolving the opening with a perfect cadence. Note that the cadential flourish in the upper voice descends from the 7th to the 1st degree. This is a common type of cadence used during the second half of the 18th century, which we refer today as a Cudworth cadence. Bars 38-41: This is a Fonte, which presents a convenient digression to the subdominant minor before returning to the home key of G. In its basic form, in the minor key the bass ascends step-wise from the 7-1, whilst the upper voice falls form 5-3. This movement/phrase is then repeated a step lower. Bars 42:46: This is an Extended Prinner in the key of G, which provides a useful opportunity for imitation each part. The music then modulates to the subdominant of C. Bars 46-49: This is could be treated as a Modulating Prinner, transitioning to the dominant of G, as again, there is initial step wise descent from the 6th of that key in the oboe part. However, the phrase ends on a converging cadence towards G, which provided a link to the second subject to return. The rest is essentially repeated, with exception to some added imitation towards the final long cadence from bar 66. I suppose this could be considered a conservative piece, in the sense that for the most part it adheres to some of the more common type of schema from this period. However, I do note that my music has a tendency to be idiosyncratic between baroque and classical influences. I suppose this is a reflection of my listening habits, which generally ranges from 1720-1790. My intention here is to ignite a topic on this type of music, as it proves a fascinating subject for those who love classical music, whilst offering an informed context on the traditional musical enterprise which underpins the great works of that era. Thanks for reading.
  11. 1 point
    Composition completed on 10/13/2019 You also can watch this piece here -
  12. 1 point
    I'm so glad that I'm not the only one who posted at the last minute! I agree it was quite a challenge, but I'm glad you made it. I loved the third and fourth movements! The energy and rhythm of the mazurka was right up my alley. The adagio was so colorful though, especially at measure 159! Loved that part and wished it had gone a little longer. Oh well. Those were my favorite parts!
  13. 1 point
    Just listened to the whole thing... and I must say, I loved it! The rhythms were so catchy and the orchestration was very well done. Definitely be humming this to myself tonight. This is good stuff, KJ! I'm glad you were able to share this with us.
  14. 1 point
    Wow, that was really impressive! I love brass ensembles, and your piece capitalized on the bright and brassy sounds. Great job! I hope your piece is well-received!
  15. 1 point
    The Danny Elfman vibes here are strong. Congratulations on your job, mate. It genuinely sounds amazing.
  16. 1 point
    You still have today and tomorrow... please finish this out! It sounds AMAZING. (I don't know why I'm encouraging the competition. Mayhap I'm the crazy one.)
  17. 1 point
    Me too! (Although I must admit, I think I'm more excited to have the stress of this deadline relieved after Friday.) #FinishingStrong #OrJustFinishing
  18. 1 point
    I'm super excited to listen to everyone's work!! #FinishingStrong
  19. 1 point
    This is an extremely broad question.
  20. 1 point
    https://drive.google.com/file/d/1-Xs1G5fupIjZPYNOiLDBoq7EijalRdUI/view?usp=sharing Recording on the way hopefully.
  21. 1 point
    Wow, I'm really glad to have discovered your music! I especially liked the Etude No. 5. I do have to ask, though, (and maybe I am just unenlightened,) whether the effect you wanted in measure 17 of the Etude No. 5 could be better expressed with fewer quintuplet brackets. Overall, your music is splendid and I will keep listening.
  22. 1 point
    Lovely little work. I rather admire your what sounds like intentional clashes of leading tone voicing leading over or under alternatively applied harmony.
  23. 1 point
    So here's another older piece I wrote some years ago which needs some feedback. Wanted to also add that I'm really bad with giving names but I think this name fits well 🤔 I hope you'll enjoy it 😁
  24. 1 point
    Oh, okay then I'm glad @Tónskáld😀😀 @Eirik Gisnås yeah I think you are right about the brass in the calmer parts. I will have a look at it to see how I set the strength of the horns and trombones. As far as I remember the trumpets enter when it starts to get louder again. I will also see how it sounds if I take down the dynamic of the part right before the break so I can get the last louder part as a final highlight. Myself I believe that the calmer part after the highlight doesn't need volume or dynamic adjustment, I think what's more important is the dynamic of the parts before. So I will have a look at it. That project is a few years old after all so there will be a lot of things I do differently by now which need some rework. Thank you for those advices 😄 will try to get the song into a better shape 😀 Thank you for your kind words @SilverWolf 😊 And you will hear a lot of me soon. Got so much stuff that I wanted to post here. Some of the finished ones are already on my Soundcloud 😎
  25. 1 point
    Very nice. It sounds as a dance. Good start with winds as en han emergido with strings sections al 1:00 and Melody with strings then. The textura thicknens andina color and direction. Countermelodies are everywhere in this part, with spicing winds. Really, a beautiful work.
  26. 1 point
    Having good ideas, the main issue is that the music runs in parallel all the time: melody (doubled or not) and rhythm. For a while it's nice, but on the long term it's not very idiomatic for the piano.
  27. 1 point
    So happy! Received a mastered audio track of my original string quartet "Reinvention"! Here is that awesome audio synced in with the sheet music. https://www.youtube.com/watch?v=QKOzr19S2UQ
  28. 1 point
    This is a little jazz-inflected piano piece I just finished. I may go back and revise it, but thought I'd post it now and see if anyone has feedback. Thanks for any comments.
  29. 1 point
    I'm not good with the theory, I'll have to take your word for it!
  30. 1 point
    One word... stunning! Not only do you play like a virtuoso, you compose like a maestro. Very Romantic, very moving, very inspiring! I'll be watching your musical career with great interest. Methinks you'll be going places.
  31. 1 point
    Wrote this last night, I'm kind of excited about it. Anxious to hear what you guys think.
  32. 1 point
    Thanks Quinn. Yes, it starts at 2 octaves and as it builds up intensity I add a third. Thanks for all your kind words. The cliche of the tortured asshole composer is totally not true, all of you guys are super cool.
  33. 1 point
    the chord change at 1:00 is awesome. That scale at 1:45 is one that I'm interested in too.. its a mode of the super locrian (lydian with a flat 7th). Super cool
  34. 1 point
    Thanks a lot for your comments. You are absolutey right about the fermatas ! You will see that the uploaded score is now revised. I kept the fermatas where I think they are justified. The ubiquitous fermatas were due to an accidental carry-over from another score. I usually work with two scores; one for electronic playback and a final one for real musicians. Without the fermatas in the playback version, you would get the impression of a steam engine at work. In a real performance, the pianist will of course intuitively feel where to make tempo changes, small pauses, rubatos etc.. This is very difficult to achieve with an electronic playback, but it is better than nothing. The choice of key is very important for me. If I would transpose the piece to another key, it would sound strange for me. Thanks again for your very useful feedback!
  35. 1 point
    Hi, Tanju! The opening crescendo is stirring (love the big brass chords!), but perhaps there are one too many repeats of that. The middle "Lord of the Rings" section with the solo cello is quite soulful. I like how you brought back the beginning chords but with some arpeggiated stringwork—nice! Oh, and then the choir comes in (no idea what they're singing, but it sounds epic)... creates a nice build! You bring the brass back in a little too loudly, I'm afraid; drowns out the choir around 3:30. The crescendo around 4:00 is pretty epic, but the cutoff at 4:30 is even more epic. (And, honestly, it's kind of relieving... not sure how much more build my ears could take.) The section from around 4:45 to 6:30 is loud and dramatic, but I'd already heard it once before, so its effect is a little stunted. The dénouement to the end with the soloist, choir and quiet strings is welcome after such an intense onslaught of crashing cymbals and blaring brass. My overall impression of this work: nicely done! It followed a timeless story arc, and, as such, was enjoyable to hear. As far as good epic film music goes, this meets all the criteria (in my opinion). Plus, the sound library you're using is very realistic—makes it much easier to listen to than a MIDI rendering. I think that's a good thing! My only critique (without seeing the score) is that it's virtually indistinguishable from other epic music filmscores. Not necessarily a dealbreaker, but perhaps something to work on personally as a composer. Keep up the good work! Cheers, Tónskáld
  36. 1 point
    What kind of anime opening is this? It's great, really, especially the opening. I can't bear to hear this chord progression but now I read your description and understood you had no choice.
  37. 1 point
    Hi DanJTitchener. Sorry to inform you but all works posted prior to the April-May 2016 renovation of this website have been deleted. I had posted 181 pieces. But fortunately I had backups on my PC of everything I had posted. I hope that you had backups too. If you don't have backups, contact chopin and he might be able to send you some of your posted pieces from his own backup.
  38. 1 point
    Composition completed on 08/14/2015 You also can watch this piece here -
  39. 1 point
    Very Nice. I am very interested to learn more about your work Oscar - perhaps we can discuss this together in greater detail within a certain channel.
  40. 1 point
    Your planning looks great, however your execution of it feels repetitive and "uninspired". Don't get me wrong, inspiration is a very abstract concept, and it's not about being "blessed" with ideas and concepts as in the romantic fashion of conceiving it. However, I feel like you aproach music as if solving math problems, which makes up for great explanations of your piece, but not much emotional content to back it up. Try composing something without planning everything you do and actually getting a closer view to the themes/harmonies. I know it's not much of a help when it comes to this piece, but I feel it applies to all your other works aswell. Best wishes, Jean.
  41. 1 point
    Woke up early and composed this. Kind of going for a zany, unbounded effect.
  42. 1 point
    A little piece I made a while ago.
  43. 1 point
    Your works are impressive. Nicely written. I love this kind of music, the march here is beautiful and serious. I respect the taste of every composer, and I think you feel comfortable in this post-romantic language. However I'm always looking for different harmonies or systems, or whatever in contemporary composers. Anyway, I'll keep on listening to your music.
  44. 1 point
    Wanted to share an improv from the past year or two. Curious to know what you guys think. Technique, melody, etc. Thanks for listening!
  45. 1 point
    Agreed, a pleasant piece, easy to listen to and on the pastorale side. What's it scored for? The harp is nicely represented.
  46. 1 point
    Lively and varied, a pleasant journey through wintry moods. I like the main theme
  47. 1 point
    Good try aMusicComposer! I like your melodies, & the violin sound is awesome! Keep your good work! :)
  48. 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.
  49. 1 point
    In the Musical Games forum, somebody suggested the idea of having a group write a piece, where each person writes a specific part, and only that part. If the host says, let's write a string quartet, everybody writes their own part to it, one person writes 1st violin, another writes 2nd, another writes the 'cello part, and so on. I think it's a great idea, but unfortunately I won't be able to partake in such an activity until furthur notice.
  50. 0 points
    I deeply apologize for the short notice but I will be unable to meet the deadline. Best wishes to all the participants!
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