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  1. Hi again, I had the thought that I wanted to do some smaller stand-alone pieces that would require less stamina for people to play and that were short enough that I could do the calligraphy aspect without a significant time investment (I don't use stencils or anything)....the thought kind of arose out of doing the piece for Mike's slur video which was along those lines. Here they are with the scores in the video, and the newer one is on flemish virginal instead of clavichord which is cool. They're not a set but they're both small so I figured might as well put it in the same post. It would be awesome if someone out there decided they wanted to play stuff like these, since I made them so they wouldn't be such a huge undertaking but would still give people the vibe they're looking for with the late Renaissance.
    5 points
  2. Finally, a smooth panning functionality has been added in the latest MuseScore 4 patch (version 4.2.1). Even though it is not nearly as "smooth" as its MuseScore 3 counterpart (dare I say, quite a bit jittery (at least in my opinion)), it is quite a considerable improvement for me, since the video format I have ostensibly specialized in relies quite heavily on this one feature. Unfortunately, concerning the Basso Continuo part, figured bass playback is unfortunately not yet a thing in MuseScore (at least, not that I know of), so I had to resort to fleshing it out to the point where at times it might seem like a totally independent harpsichord line. Still, the additional benefits when it comes to the violin soundbanks are truly priceless, and as such, with the aforementioned deficitary deterrent out of the way, I feel I can finally move on to MuseScore 4 by default. As for the piece itself, I originally conceived it as a two-voice fugue, but eventually decided to add a harpsichord part serving as basso continuo to enrich both the timbre and the underlying harmonies of the intertwined melodic lines in the violin parts. Enjoy! YouTube video link:
    3 points
  3. I think you are a very talented composer, and I fully enjoyed this. Very fun rhythms! While I can't call myself an expert in counterpoint, all I know is that it was an extremely enjoyable experience to my ears. The fact that you mostly use short and quick rhythms greatly enhances the longer duration notes you add, which really brings out this piece. I would like to remind you though that there will be constructive criticism of all types on this forum. If you disagree with a remark, that's perfectly fine, but there is no need to get upset. I recently put myself out into the public eye (yikes) by becoming a YouTuber, and criticism is just a part of putting our creative works out into the world. I've read through all the comments here though, and there was nothing offensive being said to you.
    3 points
  4. A friend of mine was lamenting the fact that nobody has ever made something special for her, so for her upcoming birthday, I've written a set of orchestral variations on "Happy Birthday". Variation II contains a figure based on scale degrees that spell out her birthdate, while variation IV contains an ostinato based on her initials. Any comments or criticisms would be most appreciated!
    3 points
  5. I have recently had an interesting mind experiment with myself. I have sometimes thought of maybe going back to school for a master's in music and I've heard some great advice on discord stating that one should seek out a good composer/composition teacher that one would want to study with and go to that school where you'd be able to study with them. So I imagine to myself that I have already done that and I'm sitting with my teacher in their office, listening to some of my music, and they ask me "So what are your musical goals in regards to musical composition? What do you really want to achieve here?" That question is what inspired the following list (in no particular order): Write mimesis music - mimicry of various natural/unnatural sounds through reinforcement of harmonics in the orchestra Feature aural illusions in my music Continue writing variations pieces on various beloved pre-existing themes or newly composed themes Write a programmatic symphony Write an original piano sonata in a unique style without resorting to cliche pianism Continue finishing old pieces that I started over a decade ago to stay connected to my past Learn galant schema and use them to write original pieces of music Continue writing old Baroque dances in a new style and include different dances besides the minuet in my symphony Write occasional pieces of music utilizing dice and/or chance/aleatoric techniques/elements But ultimately - just follow my heart and write passion projects rather than cerebral exercises. Those are the goals I came up with. Share what you think of them or what your own personal goals are and how they might be different from mine! Thanks for reading. Peter
    2 points
  6. You know, I like this piece a lot. You break out of your usual style of writing here, creating a balanced contrapuntal texture that is not dense, with plenty of nice sequences and imitation that brings contrast (the hockets like in mm. 19 to 21 are great). I also don't agree with some of the things @Guillem82 mentioned: I don't see or hear any harmonic mistakes/unresolved dissonances, and I don't mind the doubled notes on the violin. Sure, it's uncharacteristic but in this case it works fine, just like the distant modulations. Moving on to things I don't like...I would surmise it as: There is no apparent organisation or plan of your musical motifs. Let me elaborate. Regarding the first point, I remember saying to you before to analyse what Bach does in the WTC with his fugue subjects in order to get an idea of how to develop them (the formal term is fortspinnung). I really would like to make this recommendation again. It is not just fugues, or even Baroque music that this skill applies to - a control and constant development of a limited number of musical ideas is a trait of virtually all classical music. Especially in contrapuntal music, a failure to do this ends up making much of your music "noodling", where you have correctly constructed melodies, harmonies and parts that work with each other, but virtually zero connection between one bar and another. As an example, when I wrote the fugal section of the Overture of my Keyboard Suite, I recognised that the driving rhythm will be 6 semiquavers-per-bar. To achieve motivic unity, I limited myself to three possible settings of notes to this rhythm: an ascending scale, a turn figure (both of these can be found in the subject), and a rising fourth from the 2nd to 3rd notes followed by a descending scale (found in the countersubjects). You can check for yourself that except at structural cadences, every group of 6 semiquavers in the 242-bar long piece belongs to one of these three settings or their inversions. This is a somewhat extreme example; the Air for example is far more loosely bound by motifs, but I stand by my point. When you look back on your fugue, ask yourself: what is it that ties the whole work together? To me, it's certainly not the subject! The lack of subject entrances aside, the head (very nicely composed) has a characteristic descending, dotted, pattern which completely disappears after the first few bars! The tail (also very nicely composed) comprise of a descending scale and a rising seventh chord in quavers. Both of these elements return very rarely for the rest of the piece. So, if your core musical idea isn't actually the subject, what is it?
    2 points
  7. @chopin My apologies for my response to @Guillem82's remarks about my work. As much as I should have respectfully defended my work, I'm afraid I'll have to admit I blew my reply out of proportion. I'm deeply sorry that was the case. I should not have behaved in such an immaturerly hot-headed manner, and there's hardly anything exclusive to this forum that could excuse that on my part. I now have come to appreciate such kind, constructive criticism and believe myself hopefully ready to plead responsible for my statements and strive for your forgiveness.
    2 points
  8. Difficult to say. But I think that it is a bit similar to Bach´s siciliano. Could it be a variation/arrangement for guitar of this piece?
    2 points
  9. I'm no counterpoint expert so I'll just say what I feel, don't take it as a lecture but rather with grains of salt as I understand the harmonic progression of the subject and the countersubject is VI-IV7-VII-V7-(i) I might be wrong but the second beat does not feel very invertible for some reason... what if the subject's fourth note is moved down a tone? (GABbGCBbABbCADCBb) just a thought... actually, that's what you exactly did in bar 16. For bars 28 and 32 this will also avoid the apparent parallel fifth. The inversion seems fine. There are a few other places I felt strange but I can't exactly find solutions. Hmm... I've been less useful than I'd imagined. Sorry. Btw for me sitting in front of a keyboard and trying the notes helps.
    2 points
  10. I've been working on this piece on-and-off for about two months now. This piece is a reworking of an older chamber work (you may remember the Grande Valse I wrote nearly a year ago) into a much larger orchestral setting, since I planned on submitting this piece for a competition I felt like attempting around the end of December of last year. Doing so was apparently much, much harder than I expected with this particular composition: there were a lot of inconsistencies in the written music, orchestrally unsound harmonies, and otherwise confounding structural decisions that made it an extraordinary pain to orchestrate this whole thing in its entirety. To this day, I haven't been able to complete it. This piece also happens to be my first serious attempt at an orchestration from a chamber piece, which is why I find it a more challenging task than others more well-versed in orchestration probably would (a 21st century Ravel, I am not). I've had to rewrite entire sections because of the issues mentioned above, and I've found it alarmingly difficult to write with a reasonably consistent output for some time: there were many weeks where I would suffer from composer's block, and I've only got about a month and a half to go before the submission date is due. I would therefore like to ask the lovely people in this forum for some help regarding what I can do about my piece as it stands and what I can do to combat the composer's block I'm currently suffering from. All feedback is welcome! I hope to hear from you all ☺️
    2 points
  11. I was bored yesterday, so I composed a bicinium based on 'Twinkle Twinkle Little Star.' Let me know what y'all think! I used cantamus.app to render the voice, by the way.
    2 points
  12. A few more. Here's what the book says about Mahler: Mahler had an incurable ambition to write the longest, noisiest and most expensive symphonies in the world. This he actually achieved several times and not surprisingly, it was a long time before people could be persuaded to listen to them or that impresarios felt like trying to make them do so. It was suddenly realised that Mahler had not written long, boring symphonies of the Brahms type which you have to listen to carefully from beginning to end in order not to miss the themes, but had, in fact, simply strung together hundreds of attractive little tunes, and it was possible to go into a coma for a lot of the symphony and still get involved when you came to again. It is possible to switch on the car radio in the depths of Surrey to what appears to be a Mahler symphony well in its stride and to arrive in London and find a parking place with it still going on in a forgetfully energetic way that suggests it might still be in progress at 5.30. It is quite obvious that all conductors get lost during a work like the 7th which Mr Cooke has now called the ‘Mad’. No doubt someone will prove one day that Mahler was crazy. If not, why did he go to such trouble to write so much when he achieved better results in his short symphonies like the 1st and 4th. ABOUT Bruckner: "It is generally said that Bruckner was a simple man - practically a Nature Boy, you would gather from some writers. If, after listening to one of his symphonies, you still feel that he was simple, then we must all be gibbering idiots - well, perhaps there is something in that. In fact Bruckner was as deep as the Ocean. He was also an organist and organists are far from simple men. / Another misrepresentation of Bruckner is to bracket him with Mahler. The only thing they had in common was a liking for long symphonies.....(etc) = = = = And another couple of definitions: Pentatonic: Music that can be played on bagpipes. Perfect Interval: A period of time long enough to queue up for and consume a cup of coffee. .
    2 points
  13. I will just list 2 for each categories haha. On music theory I love “Harmony and Voice Leading” by Aldwell very much! “Introduction to Post tonal theory” by Straus is great too. On Form I love “The Classical form” by Caplin, “Sonata Theory” by Hepokoski, On counterpoint Kennan’s is an essential read and I also like Jepessen’s book on 16th century counterpoint! For music history Taruskin’s history is so great, but I have only read the first two volumes and have the other 3 still in my cupboard…… Henry
    2 points
  14. Hello all! Today I bring something longer than my usual submissions to the forum! And with a twist. I designed a poster for fun, and then decided to make a song based on it. Below is the poster, and then I'll get into some details about the song! My goal for this song, was to capture the power and waves of the ocean, while stopping off and making some sections representing some classic seafaring mythological creatures. (2:33-3:32 for example, represents a Siren! 4:42-5:26 to me, is a theme for a Kraken.) But always returning to my central themes. Cymbals often represent the waves, as do rolling drums. The hand pan is used rather frequently and in one of the recurring themes because to me, it's sound represents water. There are many VSTs used here: BBCSO Discover, Intimate Strings, Epic Choirs, LABS, and Amadeus Symphonic. All in FL Studio. I hope this all makes sense and you enjoy the listen! It's the first piece I've made that is this long, but I didn't want to cut it short and kept having ideas to grow it into a full suite! I look forward to the feedback! I would love to know what this piece brings to mind when you listen.
    2 points
  15. This is intended to be the second part of the second movement of my String Sextet in G flat major, after the part of Lamentoso. These two parts are very different from the more fleeing and transcendental first movement as I hope they capture the sadness of the time and what I feel, before leaping back to the world of the pentatonics later, which would make the pentatonics more grounded. Here is the first movement of the piece: Here are the scores, the original version and a version with my own (painful) analysis on it: Final Fugue from String Sextet movement 2.pdf(With Analysis) Final Fugue from String Sextet movement 2.pdf And here is the youtube video: The piece is dedicated to Mr. Johnson Ho. The finishing of the fugue is prompted by hearing his worsening health, so I really want him to stay healthy. The inspiration of the fugue first comes from my friend Mike @chopin and my mentor David (I am very honoured to name him my mentor even though we have never met in real life since his videos form the skeleton of my composing skill. Go watch his analysis videos NOW!) said that the middle fugato section from the first movement is the best part of the movement. I was shocked since I believed it was the worst of the movement! Then my bro Vince @Thatguy v2.0 (who also makes this perfect audio) inspired me to write a dense fugue for the second movement, and so I challenged myself to write a six part fugue, since I feel like it’s not fully realised in the first movement. This is he most difficult I have ever written, but finishing it I now consider it my most beautiful work composed up to date. It’s so emotionally deep, even weirdly I feel zero emotion during the composition process, only calculating the counterpoint haha. I am so satisfied with the result. The fugue comprises of three subjects, all from the 1st movement. The 1st and 2nd subjects are from the 1st movement fugue’s subject, while the 3rd subject is derived from the opening theme of the Sextet’s first movement. Here is the plan of the movement (time according to youtube video): First part (00:03): First subject enters in each instruments, inversion introduced at . All of sudden C minor enters (01:55) and I quote my subject of the C minor Clarinet Quintet 3rd movement fugue here to intensify the sadness. Also kind of replying to the relationship of G flat major and C major in the first movement, but while freedom is shared there, now sadness is shared. Second Part (02:12): Second subject enters and the section features a saturation of stretti. The C minor section (03:56) comes in at and it’s my favourite section of the whole fugue. It’s insanely tragically beautiful here. Third Part: Third subject enters (04:58), first and second subjects combine in the manner of the 1st movement fugato. The intensity is kind of lowered after that insanely tragic C minor section, maybe kind of accepting and reflecting upon it, and it’s less saturated with the subjects. However things starting to get intensified, first the third subject is treated as in Bach’s Chorale Preludes when it is cut up and divided to four phrases alongside the other two subjects (06:29). The only pentatonic entry (07:16) arrives to kind of relate itself to the first movement and hints what will come at the end, but at the meantime it’s defeated by disappointment and the fugue ends in a doubtful manner, which will lead to the chant section. Hopefully I would finish the whole movement as soon as possible! Hope you enjoy the fugue now! Henry
    2 points
  16. I don't usually start in a DAW and then export into a notation program but Musescore has really worked for me thus far! Maybe @Alex Weidmann has done that and can provide first hand experience? Yes, that's how I usually work. MuseScore tends to translate the midi data very literally, and you can end up with a horrible mess of overlapping notes and multiple parts. Lately I've started using the Notion app on my iPad to interpret the midi data from my DAW. Notion makes a better job of interpreting the composer's intention, and tidying some of the mess automatically. (It's also free for iPad in its most basic version.) I then export a MusicXML file from Notion, and import that into MuseScore. (Since MS is much more versatile, and has more flexibility for revising the score.)
    2 points
  17. Hello everyone, I enjoy sharing here my new composition for solo clarinet and string quintet. As I explain in the notes attached to the video, I have always loved scarecrows. I had photographed this one at the edge of a field and I took out the photo to make a charcoal drawing that inspired me this little musical page. The samples are therefore from Spitfire solo strings for V1 V2 Alto cello and BBCSO pro for double bass. I use Swam for the clarinet. it is even more difficult to sound a string quintet in the most realistic way possible. This requires the greatest care for every little detail of the midi programming. The goal, as always, is to approach a credible immersion. Even more difficult than orchestra or piano, because here the slightest lack of taste is heard immediately. The instruments of Solo strings have wonderful timbres but their programming under Kontakt is complex. The game modes are very varied, but not always easy to join. On the other hand, I had to use the solo double bass of the BBCSO pro instead of that of Solo strings because overall I was mixed. On the one hand, I preferred the sound "presence" of the double bass of Solo strings, on the other, I found that some effects such as the Bartok pizz were more convincing with BBC. There is no legato patch for the double bass in solo string and so I finally preferred this mix of the two libraries. Swam has the huge advantage of being very playable on the keyboard. So the clarinet is reactive and the programming of the various game modes is a pleasure as the interface is reactive. Thank you in any case for your listening and comments.
    1 point
  18. This is a piano sonata I've been working on. It's sort of a venting piece for me. I write it while dealing with the thoughts of being a gay man in a conservative Christian community, so I think it's applicable for Saint Valentine's Day, but instead of "I love you," it's more, "I wish I could love you (without being abandoned or shunned by everyone I know)." Kind of melodramatic, I know, but I'm pretty happy with it so far. I plan on making 2 more movements. Forgive my mistakes in the piano recording, (especially measures 246-7. Yikes, I butchered that)!
    1 point
  19. Hi @Layne, First of all your acting is scary. I mean….. you may well be a serial killer LoL! The music is so scary. You make it think of @Bjarke’s horror study: Thx for sharing! Henry
    1 point
  20. Hi @Layne, As Peter noted the music is very intensive and attentive! I like that you are inviting more contrasts into your music like timbre change and harmonic change! The harmony around 2:40 is very interesting when you get something bitonal! There is very much variety in the music, now maybe next step would be to have variety while maintaining coherence! Thx for sharing! I like this! Henry
    1 point
  21. Thank you to both of you! I will look into these options. Installing Musescore now and going to play around with it. I don't have an iPad, but Notion is available on Windows! So I will try this method. Thank you for the advice!
    1 point
  22. I don't usually start in a DAW and then export into a notation program but Musescore has really worked for me thus far! Maybe @Alex Weidmann has done that and can provide first hand experience?
    1 point
  23. Thank you so much! Glad you enjoyed it. And yes, that's true about the hand pan/ steel drum. I think there are just some differences in their construction to differentiate the two. At the moment, I do not have a score. I don't actually know how to write sheet music! That's something I want to work on soon, and don't think it'll be too hard of an adjustment. Even if it's to export the songs from FL Studio, then annotate where needed to change articulations, change notes over from whole notes to the proper length, and such. Do you recommend any software to use for that?
    1 point
  24. Very interesting. I enjoyed your changes of modal colour and orchestral texture. Extending your harmonies into dissonant territory for the Siren was a good choice.
    1 point
  25. Congratulations again, I just posted a comment on Youtube. I say it again here. For me, your approach to the fugue is to be compared to that of romantic composers for whom this form is above all the echo of a Gothic cathedral, abandoned, no doubt, and which welcomes the steps of a lonely walker. He then sings and mourns his pain, for the old stones covered with ivy and his voice resonates in solitude. No matter the details, no matter the small "Crumples of paper" here and there, (I'm not talking about the boldness that are always good and beautiful), what matters in the end is the human gesture that is behind the form.
    1 point
  26. Hey, @Henry Ng Tsz Kiu! It's always good to hear from you. It interesting how you've managed to predict what I had had in mind for the piece: I've just finished writing a tenor saxophone solo somewhere around there. I don't suppose that's the same thing as writing a variation for brass, but I'll keep your suggestion in mind. I'm currently scoring that whole sax solo for brass chorale and string accompaniment; I hope you'll let me know if it's worked out at all 😉 I've decided against writing in binary/ternary form, since I hadn't done so in the original solo and hadn't thought it to be particularly necessary in a waltz like this. There's only a month to go and I don't think I really have the time to write a contrasting theme of much substance, but if things turn out differently then I may very well consider it. Again, thank you for your suggestions! I'll be sure to continue to post progress by the next week 👋😊
    1 point
  27. Great job! Kept me attentive and engaged throughout the whole thing. I think the instrument you call a "hand pan" I'm used to being referred to as steel drums. Kudos for including them and using them quite idiomatically as far as I can tell! Could you provide a score for this? It's really interesting harmonically. There are many harmonically intriguing parts. Thanks for sharing!
    1 point
  28. One of my friends recently challenged me to write a theme for a medieval village and then one for the castle at the center of said town... Though I haven't shared the medieval village theme yet, I come today with the song that I made for the castle! The first portion of the song I feel encompasses the grandeur of seeing the castle for the first time and approaching it. Then it switches to what I feel is the exploratory theme. Then moves back into grandeur until the close! Made this in FL Studio using various VSTs like usual. BBCSO Discover, Amadeus Symphonic, LABS, Intimate Strings, and Epic Choirs I believe are all the ones I used on this piece. I wanted it to feel somewhat militaristic, like the image of the large castle would display. In this theme I utilized the bagpipes as the main voice for the castle. I wanted to play around with writing something for them, and had fun with the parts they feature in! Experimented with my mixing. So hopefully the volume on this piece is better than my others!
    1 point
  29. Dear fellow composers, I'm glad to share with you my new composition : "Racing to the stars", which "tells" the story of the incredible journey of an adventurous astronaut, from the launch pad, to the cosmic mysteries. I believe I made some progress on keeping some thematic consistency throughout the piece : most of it is based on the simple motif 4 sixteenth note in a sequence, on the degrees I - II - III - V. The end of the piece (starting from 6'00, and especially 6'40) is more exploratory as far as harmony is concerned. From 6'40, it is aimed at conveying a sense of doubt, interrogations, psychic desintegration or being lost, etc, before getting gradually resolved. I would be pleased to know how you feel about it. https://www.youtube.com/watch?v=_vGtmOXQHIU Enjoy, Vincent
    1 point
  30. Intended to answer this way earlier, but whtv... From the poll, these are the weaknesses which I have observed from my composing and their elaboration: Starting too many works without ability to finish - since most of my works were written years ago Using too much repetition - as many have commented in many music forums and threads including y'all here in YC : ) Getting too bogged down by the details - I pay a lot of attention to articulations ( whether they " make sense " ), contrasts between climax and non-climax areas ( since most of my pieces have clear climaxes ), and also use of chords ( which I dwell over a lot becos I rly wanna the chord to suit and bring out the best in the melody, but also an aspect which I'm generally satisficed with at the end ) Inability to perform/satisfactorily render my own works - some of my pieces I have written the way they should be even though I can't really play them ( exactly ) , and l assume ( after some not-too-rigorous levels of assessment ) are playable by many others. I can play them only in a slower tempo, or having just a few things removed. I wish I composed for other venue(s), genre(s) (share which ones!) - I am still not very confident to bring my pieces up yet. But I hope I will be able to make music more involved in the world. Orchestration - I only publish for solo piano thus far. Hv few others for Satb, piano duet, piano for more than two persons, piano and one or two other instruments/voices and even orchestra but not that much skill, exp and confidence and thus need way more time. My experience in band was also limited, a few years, and specialized in percussion. Also open for future pieces to go beyond solo piano. Blending instruments - as abv Arranging works for bigger ensembles - as abv Arranging (reducing) works for smaller ensembles - as abv Nobody wants to pay me for writing music! - Hv not went this route yet, but am open to it. Always writing for the same instrument(s) - as abv Using much too common rhythms/meters - I only have 2/4, 3/4 and 4/4 for my posted pieces so far, and in very obviously regular and conservative meters. Hv a few that are in less common time but will need more time to prepare. And I am open to composing new pieces in more irregular time and meters. I would and could not give a clear-cut answer as to whether composing is easy or hard - the short answer will be both. The long answer...I'll wait for next time I guess... lol
    1 point
  31. Any other musical books Y'all would recommend?
    1 point
  32. This is fantastic feedback!!! I appreciate it greatly. It is being premiered by the Grand Valley State University combined choir, however I will make some edits before selling.
    1 point
  33. Finally remember one! How can I forget this?! : The opening lied is in F sharp minor but never have one tonic chord on it!!!
    1 point
  34. Finally, I got this piece finished. It is a real challenge for the pianist. It is difficult, but not awkward or impossible to play. Although I have revised the score several times, there may still be some errors and room for minor improvements. The notation of some of the left hand runs could be divided between the staves, but I think that the pianist will intuitively utilize both hands, if this facilitates playing. I included the pedal settings, which I used in the playback. This is may be not something to include in a published score (apart from the cases where it is absolutely necessary), but it gives you a rough idea how I produced the (electronic) playback. I would be most interested to know what you think of it, and any critical remarks and/or suggestions for improvements etc.is greatly appreciated.
    1 point
  35. A snippet of an old melody I had laying around that I finally developed into something (I don't know what)
    1 point
  36. Hello everyone! I just composed a Fantasia for brass quartet and I want to share it with you. I named it "Fantasia" because I am not sure what form it is in. I never have time to compose but I had a totally free weekend so I wanted to practice counterpoint (first piece I do with four independent voices) and ended up composing this. I did not have any clear form in mind when I started so I will explain the resulting form briefly so you can enjoy the piece better (if any of you know under which musical form this would fall, please, let me know! 🙂) The piece can be understood as having three sections in the form ABA'. The summary of the structure is the following: First section: Phrase A and phrase B presentation all in home key (section A) [m.1~8]: Phrase A repeated twice (Gmaj) [m.9~16]: Phrase B repeated twice (Gmaj) Second section: Counterpoint Fantasia (section B) [m.17~24]: Restatement of phrase A. In the second repetition the phrase is broken. [m.25~m.33]: 4 bar-based idea repeated (Gmaj) [m.33~m.39]: 4 bar-based idea repeated with modulation (Gmaj --> Emin) [m.39~m.48]: 8 bar modulatory lyrical passage (Emin --> Cmaj) [m.48-56]: 4 bar-based idea repeated (Cmaj) [m.56~64]: Variation of phrase A in C major. The second repetition modulates (Cmaj --> Dmaj) [m.64~71]: Phrase B in D major. The second repetition modulates (Dmaj --> Gmaj) [m.71~74]: Transition to the restatement of the beginning Third section: Restatement of phrase A and B in home key (section A') [m.75~91]: Repetition of the beginning of the peace in home key. Theme A and Theme B repeated twice each. [m.91~94]: Final repetition of Theme A with final crescendo. [m.94-95]: One measure coda (might extend it in the future). I do not really know much about brass instruments so there might be many playability issues, particularly in low dynamic levels (please, feel free to point anything out). Also, I did not transposed the clef for the Bb and F instruments for making it easier to read for most people. Any comment and feedback is more than welcome! Thank you for listening and hope you enjoy it!
    1 point
  37. Audio.mp3 Now that I have finished my recent project, I want to share what I am working on next. This started as some orchestral practice, but has evolved into something more solid. So far I have the outline of a slow adagio followed by an upbeat allegro that is reminiscent of Haydn's style. Hope to progress with this over the coming months. https://musescore.com/user/69480886/scores/14324641
    1 point
  38. Hey @Awsumerguy, I really enjoy the first section in A major when the mood is cheerful. For me even if you write this in variation form, you can add more contrasts in timbre and colour which I think it should be easier to do than a so,o piece or a chamber work! You haven’t introduced the theme in brass, probably a variation in horn would be great! Also make sure to include a contrasting section! A flirting minor section in F sharp minor would be great like the waltz in Tchaikovsky‘s Fifth Symphony! Probably you can look into @David_DLM’s waltzes, he writes some great ones! Thx for sharing! Henry
    1 point
  39. Hey @Layne, I think the parallel fifths and the opening theme do have some medieval favour! Probably you can introduce the viols too. The zither in around 1:20 is great too. I think you can develop the parallel organum idea to make it more medieval! The Lydian B natural at the end is great, probably you can use more of that! Thx for sharing! Henry
    1 point
  40. I can't quote any one sentence since the whole paragraph from Hindemith's book is genius: ~ Quotations from a self-proclaimed genius LoL
    1 point
  41. Just wanna know so next time I can consider this for similar pieces. This is kinda like a mix of three different parts ( and a fourth part which is a climactic version of the first part ). Allegro Vivace " Cool And Fun Dances " ( From my " Children Scenes " Collection 😞 https://musescore.com/user/62605720/scores/14383009 https://www.youtube.com/watch?v=691x8k4vbtw My second shortest piece thus far : )
    1 point
  42. I would say yes. The more distinct two parts are, the more elaborate the transition must be. I suppose it depends on the effect you want to have, although the "surprise change" is often an excuse to put one section after another to make a longer piece. In this case, the change from measure 43 to 44 is especially evident as it not only speeds up noticeably but changes from 4/4 to 3/4. In addition, it suddenly sounds like a minuet or similar. The return in measure 82 to the Allegro also has this effect, but perhaps less so because the density of textures is more similar between the parts. This is an issue that concerns me a lot, and there are techniques to make these changes.
    1 point
  43. 1 point
  44. I don't know what category this falls in...
    1 point
  45. Yeah definitely don't change anything about it. When I say unsettling I don't mean it as negative criticism. I meant it as a great way to portray a certain type of mood.
    1 point
  46. This is so pleasant to listen to! Not intrusive and just so peaceful. Reminds me in a way of the Legend of Zelda!
    1 point
  47. mine is for early keyboard instruments and it’s very rare to see slurs in this context but they do happen every now and then. because the style is generally a lot more articulated than later keyboard styles, i think the slurs are there more to group the notes rather than to demand legato. i only included slurs in the first couple measures to indicate that the notes of the jig rhythm should be grouped together thereafter - chino
    1 point
  48. This Pavan and Galliard is something I started writing all the way back in Spring of 2022 but put on the back burner because of learning new pieces. It's really intended for a virginal or other plucked keyboard but here it is on clavichord. I consider the Galliard to be much better than the Pavan, the lively character is more reflective of the dedicatee, so if you want to you could skip to that at 7:42. Not that I think the Pavan is mediocre at all, but yeah. I intend to write the score in a font similar to that of My Lady Nevell's Booke, and record it on a better instrument at some point.
    1 point
  49. A Hare (clarinet), with his pacer (flute) quickly starts the race, confident of victory. The sluggish Tortoise (bassoon), plods after. During the second half, the Tortoise passes the Hare and wins. To see all the reviews for this entry go here: Entry B - 'Fabula' by @rsn
    1 point
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