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Showing content with the highest reputation since 09/07/2022 in all areas

  1. A piece about a walk in a wondrous land.
    3 points
  2. Hi everyone, I've just joined this forum and I wanted to share my first large scale orchestral work. I uploaded it yesterday after working on it for a little over two months (During the first one I actually composed the music, and it took me yet another month to create the illustration and release the video). It consists of four movements and countless hours of work. I'll gladly hear your opinions on this piece, and I hope that You will enjoy it.
    1 point
  3. I composed this piece last year for a project calls "Tooter tuesday" , The flutist Beth Ratay is playing a new music for flute(solo,duo and trio) every tuesday for a year.
    1 point
  4. I'm very grateful for the criticism. I really apologize for the lack of dynamics, my plugin made changing them tedious, so perhaps I should get some better software. You are also right in saying that I need to figure out a way to stop all of the voices from blending into an auditory soup. I'm also quite flattered by You calling my theme beautiful, and the composition theoretically acceptable. As for the sheet music, I wrote this piece in piano roll, so in theory I could transcribe it to sheet music, but I imagine it would take me yet another month to do that. Maybe next time I will use staff notation instead, although I find it less convenient. Anyway, thanks a lot for the comment, I'm quite glad that You enjoyed this piece.
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  5. Constructive criticism is warmly welcome 🙂
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  6. First of all, thank you so much for the feed back and sorry for the lack of a pdf or explanation, I found out about this forum when I was in school and I only had the file of the audio.(though in hindsight, I probably should've waited until I had access to the pdf) But yeah I agree with you on a lot of the points you mention in this, this is my first big band composition I've worked on. The state that this piece is in now I believe I "finished" writing about a month or two ago A lot of the lead parts from this are from other, smaller pieces I've worked (sloppily) put to together. I've had a hard time with this piece, as I'v been very split on where I want it to go, and it certainly is in a finished state, rights now I feel it's more of a college of ideas, rather than a comprehensive piece. Though I want it to have more structure, I think I really want it to thrive as a sort of a "controlled chaos" though I feel like, so far, I've pursued it in the wrong way. I want it to have a structure, and separate movements that all in tie into each other, but I do want a level of disorder to create tension in a way that's not done a lot in orchestral music, but more of a way that would be utilized more in jazz So far I think my best progress towards this idea is actually through the percussion. I want it to feel sort of off, but not random. In a way that a jazz musician may use techniques to create a level of unbalance before pulling together. Though, yeah, a lot of the parts in this I feel are kind of lazily put together, looking back, I think I should of structured together parts that fit together more rather than parts that I had simply thought of before in the past. The reasoning behind the strange pauses are a combination of the lack of being able to come up with a good transition, and trouble with the program I used to write this(musescore), when creating those transitions I should tried more to push the music into the next section, rather than just stopping it and then starting again with a new idea. I believe that when it comes this piece, I think I'm going to scrap it and try to pick out certain ideas in it, to try to put to together a more comprehensive vision, though it reflects the basic ideas of what I want to achieve with it, I do believe it is a far cry from being the complete experience I want it to be Thank you, Ethan Truesdale
    1 point
  7. Most of the soundtrack is pretty lame on its own, but the Crisanta Phase II theme from Blasphemous is easily the best track on the soundtrack.
    1 point
  8. Just not to repeat criticism, I find flute rapid notes very nice and a bit underused (though this might be not the best case for extensive developments). The piece is, well, a bit short to my taste since it seems that something wants to begin around 1:20 but it doesn't; the piece ends instead, but since it is required by the competition not to be longer than 90 seconds I cannot really complain, you've done good with the time given. Regarding the sound, it's solid and I really like it. May I ask what kind of software/libraries have you used for it? I'm very much used to writing my music in paper or using engraving software but it seems that achieving proper sounding for orchestra (without actually hiring one) requires much more than musescore or similar software can produce in terms of sound... Kind regards and thank you for sharing!! Hope you get into the finalists group at the very least!
    1 point
  9. Constructive criticism: • Minor detail: beware of the Pedal markings, their end indication sometimes overlap with the starting indication of the next line. • Another minor detail: why all indications end with a dot? Opinions: • The repeated motif is catchy and will really shine in any human interpretation that's for sure. • I like the 8 bars before the M49 & the coda a bit more the rest of the piece :), good job there... excepting perhaps M57-59 that sounded a bit like "Tico Tico no fuba" and which I liked even more possibly. I felt like this was kind of a theme with variations at that point and I would have really loved if you had developed those three bars more, they were great! Good job! Kind regards, Daniel–Ømicrón.
    1 point
  10. I am very fond of measures 23 to 31, is that the famous la folia progression?
    1 point
  11. Schubert String Quartet #15 1st movement. Mendelssohn string quartet 1, 1st movement
    1 point
  12. Great to see that these creativity stimulating competitions are back! I have already put the finishing touches on my entry. So I am obviously participating!
    1 point
  13. these will be my dying words no one will know what I mean lol. my fear has a grip on me man. I'm writing a series of interconnected miniatures to try and idk rectify the problem in my own way, dipping my toes into the proverbial waters. duh
    1 point
  14. These are just ideas and sketches (with poor arrangement, sound quality etc), I will make them more available as soon as I have arranged and completed them well. Thanks a lot for your feedback!
    1 point
  15. Alright, after months of working, learning, and trying not to procrastinate too much, I'm freaking done with this project. This project took wayy longer than it should but gosh darn it it's hella worth it. It's literally my first time I've done something like this, and I thought it was okay. There were some parts that definitely could've been improved but I'm really proud of the score that I've made. About the scene: Two rival, young, and new deputies on the force, DUSK and BOYD, had found themselves in an one-on-one conversation after BOYD ran off to the top of a hill because DUSK had mocked his behavior of drinking and got sent off duty after the death of his horse, Bandit. The conversation ended in an ambiguous way after they each spoke of their feelings about each other. Credits in the video description. Server from WildRP. I've provided score, just the music, and some context to some of the dialogues as well. Lemme know what you think! -Ferrum
    1 point
  16. It really is a lovable piece, especially the beginning, having the aura of Chopin's nocturne. The agitated middle section is also effective enough. C sharp minor is my favourite key and I love almost every piece in c sharp minor. I wonder if the time signature of the slow section should be 3/4 time rather than 6/8 time, because I feel like it's more in simple triple meter rather than compound duple meter. I agree with @Omicronrg9that it's weird to change key just for a few bars. I agree with your reflection that the agitated passage can stay longer in g minor to provide more contrast, because it can create a dramatic with the neapolitan chord of D major suddenly reinterpreted as the dominant of g minor. Another option for me is just don't modulate to g minor, because I already find the agitated passage from bar 49 onward in the original key of c sharp minor enough to provide to provide contrast with different mood, meter, dynamic and texture. But it's up to your intention. I think the effect is dramatic and good with clear intention and knowledge of modulation and harmonic progression, only the passage in g minor is too short. For the chord progression from bar 61-62, I will put the full dominant chord of c sharp minor, G sharp-B sharp-D sharp-G sharp in high register of the right hand, since it's more dramatic. But that's only my personal preference, since the lone D sharp also creates great effect for being lonely and in solitude. My favourite part of the piece is the slow sections, because it is my favourite key!!
    1 point
  17. I couldn't thank you enough and I am glad you enjoyed it. I appreciate your criticisms and I feel they are valid. However, I did want the fast passage to be sudden and without preparation to symbolise sudden agitation out of dreamy melancholy. Regarding the key switching, I did not do it as any symbolical means but just to make a creative use of the neapolitan chord as a pivot point and then figure out a way to return to original key using rising diminished chords. It was mostly a technical decision. However I do think that the passage in the new key should have lasted longer. Many thanks again for listening!
    1 point
  18. Very enjoyable and readable beginning and delightful small variation of the first passage. I feel something brusque in M37, probably that 10º interval you do without any preparation but who I am to complain about that lol. It just kicked me a bit off the mood the piece was giving till that point but that's just a subjective opinion. Why did you decide to change the key for just a few bars? Did you want to avoid double-sharps perhaps (but you use them later)? That sudden change without preparation again didn't kick me off that much but perhaps the transition could be better with some of that preparation, or perhaps not. In the end, it's up to each composer's hand and mind. The 2nd volta M(58-63) is very likely my favourite part of the bagatelle along the first section that happens to be repeated just next to that part! Epic. Definitely enjoyed it, and definitely gonna like and subscribe =). Kind regards!!
    1 point
  19. Composed 118 and 119 tonight in 30 minutes
    1 point
  20. Thanks for listening! I agree that I definitely could expand on the works, they were more just like quick sketches 🙂
    1 point
  21. Are you looking for some specific feedback about the orchestration, notation for some instruments or something like this, or do you want a plain opinion without much depth? I'm afraid my experience in orchestration and composing for orchestra is still very limited so I cannot be of much help there (other people here surely can). Regarding the piece as-is, it's good. I specially like the timpani and I don't really see anything that didn't convince me. It's a short, simple and solid piece. Congrats!
    1 point
  22. I enjoyed those fps in #118. A simple and nice job that I feel that could've been developed a bit more. Sounds kinda baroque (not just because you chose a harpsichord sound I promise lol). And I'm sorry but I definitely wanted more with the #119. Sounded pretty cool for a 2nd part/movement of a multi-movemented piece. Thank you for sharing =), would be nice to listen to #120.
    1 point
  23. sorry for the delay! Sick. I do intend on making this a part of a little suite, different things they encounter on the walk. Thanks man.
    1 point
  24. lovely counterpoint and extension to the original piece
    1 point
  25. So happy you have pass through it! (Even though it is a celebration after 3 months😅) Currently I myself is stuck in my first movement of String Sextet... This is a really interesting piece. The flow is much better, rhythm more varied and power retained. And you play it really well! I really don't care about the slips because there is fire and power in it. For my personal choice I will tranpose it to other keys, not necessarily the relative major. I think the movement is quite monotonal with both themes in C, regardlesd of its modality. I remember Mahler also retained the keys in the recap of his first movement of Second Symphony, but there is at least the contrast of c minor and E major. In the development I won't put that much time still in C major/minor. Maybe I will put the 2nd theme in remote keys like F sharp minor or E flat minor to give more contrast, but this is only my personal choice. I think it's ok! Fot the part writing, I think @Tónskáld is right. I think there can be more interations between the hands, such as imitation of the motive in both hands and juxtapose them to build up a climax. I think the melody and be split in different voices, not just staying in either high or low register for several bars. There can even be some counterpoint usin the first four notes of first theme. For me the semiquaver chords such as in b.134 is really difficult to play. I will only retain the upper and lower octaves with middle notes tied. For my personal choice there can be an anticliamx. The piece is quite saturated with the opening and really passionate. Maybe some cool down time can create contrast of dynamic and texture. This IS a great movement! But as @muchen_said, I think it's better the finale, because I think it well suited to end the sonata in this way, grand and passionate. Maybe the first movement can be more tragic? I really love the fire in it!
    1 point
  26. No wonder this is short what with the fast tempo and quick flurry of activity being hard to sustain for very long. Despite not being particularly tuneful, there is however a certain motivic logic to this composition. Although you obviously intended this to stand on it's own, if you have any possible intention of continuing this further (which I guess is kinda difficult what with how final it sounds after that tritone substituted authentic cadence you put at the end) I'd suggest coming up with some kind of contrasting section in a different key (possibly the IV) and at a slower tempo to give the listener a break from the breakneck speed of the beginning section. Also, try to make the tempo closer to andante (80 - 110 bpm) which is closer to a walking tempo if you actually intend this to imitate a stroll. It does however sound like your typical brand of magical and wondrous as you described. It's thoroughly enjoyable. Looking forward to more miniatures in this style which I think you said you intended on composing more of? Well done!
    1 point
  27. s18.mp3 s18.mp3 s18.mp3 s18.mp3
    1 point
  28. Jeje... I think a nocturne is a very wide concept. This one fits well in a night in my country. It's beautiful.
    1 point
  29. I'd say if you recently started composing that makes you young at composing. I'm no longer young but not so far from starting too. But it's an ongoing development path so you never get old at it! We all had to start somewhen.
    1 point
  30. Finally had the time and money to buy Print Music and Garritan Personal Orchestra 5, and do what I find to be the most fulfilling hobby in the world. Its a bit rough. I now know I can harmonize a chord progression, find catchy melodies, but improvisational sounding sections will require a little study and practice. I learned the importance of proper PLANNING, as something like this (7+ minutes of music) with key changes is beyond what I can reasonably hold in my head. That said. I like it. A good student opus 1--at least for me. Tell me what you think. Please.
    1 point
  31. Thanks for the reply! It really struck me when I figured out the main section or the main waltz to this piece, I do find it a bit cheche but I really felt something when I figured it all out, I did have a re-listen after you mentioned the main theme repeats a little bit, I found I was mostly fine with the length and repetition. I do add the extra layers to the main waltz at the end then with the big finish however I find it's just right.
    1 point
  32. Maybe the first theme's motives can be treated in inversion? I notice that both themes are continually uprising and creating climax. What about having an anticlimax in the development, just as Beetnoven did in his first movement of op. 130? Also, maybe elements from different themes can appear together, for example the dark semitonal transitional theme can appear with either of the 1st or 2nd theme. Can the head motive of the first theme treated in different rhythm and texture in the developmemt? I notice that it always appear in dotted rhythm and chordal form. What if the motive appears in diminusion, or in fluid quaver/semiquaver? I think the 2nd appears in minor theme will be a great suggestion. But will it act as the climax, or only as transitional area? These can be considered.
    1 point
  33. I think both works end quite abruptly. The picardy third in Piano 111 is surprising because there is not great struggle in the c minor passages. For Piano 112, bar 14 and 23, I will change the later half of the accompaniment to G natural to ensure smooth baseline. Also the transition between sections can be smoother. But these two works can definity be extended to longer and larger works! Will you consider changing some of the accompaniments? I remember I also liked to use repeated notes and octaves as accompaniment, but later found it quite boring and not flowing enough.
    1 point
  34. Yes! This is a great community of people of all ages, and beginners as well as experts who comment on each other's music and share their music with each other. There's no guarantee that you'll receive feedback on any particular piece you post. But usually, if you comment on other people's music they're more likely to return the favor and listen and comment on yours though. Good luck!
    1 point
  35. In honesty, with the fast tempo and the more uplifting teasing tone of the melody with its grace notes and leaps, this sounds more like a gigue than really a nocturne. Nocturnes as far as I know are a bit more reflective and much slower to capture the night atmosphere. But if that's intended as a bold interpretation of the genre, then I'm fine with it. It's a very fun piece with its interesting harmonies.
    1 point
  36. I haven't had a chance to listen to the original piano version for this but I definitely like this version! It's always fun orchestrating your own music - it's kind of like you get to recompose it. The only thing that I have to complain about is that sometimes (at least it seems to me) the rich voicings take away from the clarity of the melodic line. I don't know (if you would desire to do so) if that is fixable by tweaking the balance of the instruments playing those voicings and bringing out the melody more in high relief. Maybe those kind of voicings are common to Norwegian/Icelandinc composers, or some more modern symphonists, but that struck me as a flaw although it might just be my particular taste. Thanks for sharing and overall this is great work!
    1 point
  37. Thank you for the listen and comments. Yeah, I sort of evolved the 1st theme as the piece progressed. As a matter of fact I do believe that although it is an antecedent and consequent phrase, the second half--usually at the dominant and ending at the tonic IS missing! I sort of made this 1st theme stick by force of will, and it seems to work, but formally it is a boo boo---and one I didn't repeat with the second theme. Somebody check me on this. To be fair to myself, i was learning Print Music and struggling with getting the VST right while I was beginning this piece---a lot was going on! But yes, formal proportions, phrasing, planning modulations, development, etc.. need to be front and center. When I had a plan things went much smoother and I could concentrate on finer issues of taste, sonics, and asthetics. Thank you for your comments they are helpful. It is all very encouraging. I'm trying to make time to make corrections.
    1 point
  38. It's all Greek! Brand new recording for full orchestra, piano and folk intruments, all original tunes inspired by my days playing Greek music. Hope to lift your Summer spirits. Opa! https://www.youtube.com/watch?v=_OVxAyWLRBc
    1 point
  39. Many thanks for your kind words Daniel Mike
    1 point
  40. I like this one very much. It's stylistic 'wanderings' (as I see them) seem to have many influences - many of the obvious ones but I also hear things in some phrases that are similar to old-time fiddle music. This is what jumped out at me during the first 8 bars or so. And then you switch gears a bit a few times; that type of process can be rather jarring if not brought off well but that is not the case here. I'm not personally so concerned at identifying chord selections and progressions in things I hear but the way the last chords echo the first ones is very effective.
    1 point
  41. Hello again! I made this piece about a month or two ago. I had just watched Spirited Away and got hooked on the song "The Dragon Boy". I remade it in GarageBand, and then decided to make my own song inspired by it. I tried to have an Asian feel to it, using the koto and erhu. My favorite part of it is the marimba. (I wish there was a timpani sound in Garageband...) Here is a link to The Dragon Boy on Youtube
    1 point
  42. https://www.youtube.com/watch?v=0mar4kgUpsg
    1 point
  43. Not my kind of music, but I appreciate some tension you create in some parts, the lento section and the ending bars that imitate the first ones of the piece. The human interpretation gives it some life of course. Is there any particular reason why you called it sonatina? Just out of curiosity. Kind regards!!
    1 point
  44. Hej. Check out my new piece of work. Pianist Diego again did a wonderful work by playing it. Thank you.
    1 point
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