Jump to content

Leaderboard


Popular Content

Showing content with the highest reputation since 07/19/2019 in all areas

  1. 3 points
    The difficulty is that when trying to be original, you have no control over what your contemporaries are doing. Ideas don't appear out of a vacuum. We are all the products of our cumulative experiences. So it's very likely that the same influences that nudge you towards writing a certain kind of music are acting on other composers in the same way. There are a LOT of people on the planet at this point in history, and it ends up being a numbers game. And today we live in a globally connected world. We don't have the comfort of long periods of musical isolation from the neighboring cathedral towns or royal courts while we gather our thoughts and develop our ideas. If you're working on it, someone else is going to hear about it. If someone else is working on it, it's hard to stop their ideas from leaking into your inner soundscape. We also have no control over what happens after us. Trying to strategize the best direction for your music now, in the context of music history two hundred years from now, is a pretty impossible task. If you've got the foresight to solve that one, can you please stop pursuing composing and sort out world peace instead? What seems original now may completely miss the boat for what ends up being significant. I say, just write what you like. One of the best predictors of being important to the direction of music in your time is to write enough music to get good, and to get good enough to be performed, filed away in music libraries, and passed around to other musicians so you can influence other people. If you hate what you are writing, you won't be able to stick around long enough to get good. You'll quit before you get started. So compose music that you find moving, don't quit to spend your free time watching TV, and if you are very lucky, you may stumble on something original enough to move the gears of progress a notch.
  2. 2 points
    The second movement of my piano suite. It'll be released as a full piece in about a week or so, but this is my second favorite movement in and of itself! I know it's based off of some prime form I was working off of, but I don't remember what it is now 😅
  3. 2 points
    This is a concertino I wrote specifically for a youth chamber orchestra. Although it's not a perfect performance, I was very pleased with the results considering the amount of rehearsal time they had. This is my personal recording of the piece from my place in the audience, so I do apologize for the fuzziness and the whispers going on around me. The name means 'Boreal Song' or 'Song of the North.' Though I generally prefer to convey my musical ideas through chord structures, this piece is more lyrical than my normal wont. There are 2 major themes and a number of motifs throughout. The piece was designed to represent the struggle of spring overcoming winter, so I hope you can hear that in the tense passages and deep yearnings of the solo cello. As always, feedback is welcome! Edit: @Maarten Bauer I just saw you put up a piece performed by a youth orchestra, too, so now it looks like I'm trying to one-up you! That wasn't my intent at all, so everyone please go listen to Maarten's piece, too!
  4. 2 points
    Something which defies expectations as per conventions, but I think in the context of this discussion, it's probably more fair to say "a style that is somehow identifiable to a particular composer" But really, everyone who isn't trying to imitate someone else will develop a style of their own without having to really think about it. This depends entirely on what you want to do If all you want to do is write a good piece of music, then less "originality" and more "familiarity" is good. Having a distinct style there is not a bad thing, but not required. If you want to be a composer for film and stuff, then having something that sets you apart from the endless waves of competition is vital. Newcomers in that business generally complain about being undercut by guys who will "do it for free" or at least less. However, what they fail to realize is that they're all making the same "trailer" and Hans Zimmer knock-off music; the only thing they can offer their potential clients is a cheaper price. Meanwhile, guys like Silvestri, whose signature is clear in their scores, can basically command their price and get tons of work — because they bring something no one else can authentically offer to the film. There are two things that people who are into primarily orchestral music generally fail to realize: 1. The kinds of music that they study and put on a pedestal was not the music of the common folk. "Art music" was — and I don't care how much you flame me for saying it — mostly a trend designed to appeal to the aristocracy. It HAD to be different from what the peasants were listening to, or else the rich would have no interest in it. Just look at this self-righteous letter penned by Chopin Yeah man, screw all those disgusting normal people who like music they can dance to. The bulk of Beethoven and Mozart's pieces that remain popular with most people today, are curiously their simplest ones. The reality is that the kind of music most people listened to back then, was not much different from what appeals to people to day. A good tune and rhythm. This is why old folk tunes have maintained their appeal through the ages while rich-people music from the times has waned. Suspiciously, interest in it has greatly waned now that everyone can afford it. Because now, rich people can afford yachts and fancy vacations and disgusting "gourmet" foods that are over-rated and they probably don't even like, but they can flex on the normies with it. I find it amusing that all the great sculptures, paintings and architecture of European history are still appreciated the world over, and in most cases were BUILT by the underclass. But suddenly, when it came to art music and they said they didn't like it, now they were wrong. They were "dunning-krugered", etc. Same with the inane tat that is "modern art". Now, the rich people know what's best! Meanwhile, orchestras are doing everything in their power, playing "lesser" music, to stay relevant in 2020 and with good reason: There is no rule that says society must have orchestras. So if those orchestras aren't playing music people want to hear, they will die out. 2. Most deliberate attempts at "revolutionizing" music have failed Shoenberg and his serialism are gone, and probably for a reason. Now look, I'm willing to agree that standards have fallen greatly since the 20th century due to technocracy, industry nepotism, and consumerism. But like I said, you'll find that what MOST people like about music has not actually changed. Most people would rather listen to old sea shanties than schoenberg, just as most people would rather listen to AC/DC than Mahler. When you compare The Parson's Farewell to Thunderstruck, it immediately becomes clear what the musical appeal and similarities between to the two are that are responsible for their longevity. Given that, I think it's pretty clear that if you try to reinvent the wheel, you're going to wind up disappointed in the long run.
  5. 2 points
    Well, just to throw my two penneth in, I really believe that "originality" in the basest sense of the word, doesn't really exist. We have even had works of complete silence, so if you can tell me a style or genre that doesn't yet exist, (which by definition, can be the only "original" form of composition, then I would love to know it. In the past, "Classical music" didn't exist either, there was just music. There weren't enough alternatives to warrant a distinction between genres and so the term Classical music was never applied to the likes of Bach, Handle, Mozart, Beethoven etc., in their own times as they were really considered the pop musicians of their day. Now that we do have the distinction, we have to consider who we want our music to appeal to. The vast majority of ordinary classical music lovers, the general public, which is the greatest audience for our craft, still prefers tonal, melody led music with conventional harmonies and meters. It really is a much smaller proportion of the audience, (still a huge number however), that are looking for "new original" music. Given that on one hand, anything you write, provided it is not a direct copy, is original, and on the other hand, since everything has been done before, nothing is original, then really the only thing that remains, is a question of individual taste, and to which audience you want to appeal. I think also, if you get caught up too tightly on trying to be original, then you compromise yourself in as much as the reason you are writing, is not because "es lo que sale de los cojones" (this is what comes out of your soul), but rather to try and prove something to either yourself or to others, and I don't think that should really be the motive for producing art, of any description. Although I should also say that ANY motive for producing art, is a valid one, as long as something is being produced that someone else can appreciate on whatever level, then it's good.
  6. 2 points
    This is a great discussion point - and one that I think the world of composition needs. There is no secret that I am a tonal composer. It's just the music I enjoy writing and listening to. As a composer, whichever combination of tones you use will create something that is unique to you, whether is be 5, 7, 8, or 12. Provided you are not copying a piece directly, then it is original enough. The biggest problem comes from exposure. Why would a (paying) audience go to see a symphony by an unknown composer which sounded Classical, rather than their favourite Mozart one. Here lies the problem with originality - performances. Bottom line, if you want to write tonally, do it. It's still original. However atonal music is more likely to be performed, which brings me to the next point. I, as a composer, want to write music that I enjoy. If someone tells you what style of music you should write, then that will ruin the enjoyment of music for you. This is the problem with conservatoires, who tend to only accept people with an avant-garde style which they consider to be more original. Not to attack John Cage, but silence? Seriously!? Disclaimer: I mean no disrespect to atonal/avant-garde composers. You are all equally skilled and creative. I just personally don't like the style. If even one other person besides me listens to my music and enjoys it, then I feel like I have succeeded in a way. I would like to get my music performed but composition isn't my main pursuit in music so I don't mind as much. New music ensembles tend to only want to perform avant-garde pieces, and traditional orchestras generally do not accept pieces from budding composers. As a composer, I want to reach out to other musicians and show them what I have worked on. You could say I am trying to "revolutionise music" because I want to show the world that tonal composers still flourish, even though they are looked down on by competitions and festivals. I thought about this a few months ago. I love the works of the greats from the last few centuries. It appeals strongly to me, because my ear - as most ears do - perceives it as right. Tonal music is designed to be pleasant - but that doesn't mean it is limited to what most non musicians think classical music is. Take two birds sitting on a branch. One sings tonally, the other races rats over a finish line and sings the notes in the order that they place. Which one will get a mate? The ear - our ear, an ant's ear, a bird's ear - likes the harmonic relationship between the frequencies of a tonal scale. My style, as I have said before, is tonal, but I like to experiment with the changing harmonies caused by a chromatic movement. Listen to this simply beautiful piece by Grieg. I didn't play it for a while, because from looking at the score I could see it had a lot of chromaticism. But it is still tonal, and this is what I try to write. I don't count myself as a pastiche of Grieg, because I draw my style from another source. Scotland has a rich traditional music heritage, and if you listen carefully to some of my most recent music (not posted here yet) you can hear the influences from playing fiddle in a school folk band. I even write specific Scottish traditional pieces to play in the group, although that is not the main part of my output. My style? Tonal×Accidentals×Scottish Music Music is so subjective. Thanks for sticking with me, it's my longest post ever.
  7. 2 points
    Composition completed on 10/24/2015 You also can watch this piece here -
  8. 2 points
    Composition completed on 11/24/2015 You also can watch this piece here -
  9. 2 points
    Hi all, I've not posted anything here for quite a while, been busy with other things, but I've also been working to finish my first fully orchestrated piano concerto. The first movement was posted here about a year ago, but the second and third movements are new. The first movement has also been edited and hopefully improved as I added a short cadenza that I felt was missing from the first movement, as well as changing the odd passage here and there. Anyway, I'm pretty pleased with the final edit. As always, any comments are welcome and gratefully received.
  10. 2 points
    I don't know how much music history you've studied up to this point, but this whole notion of material-based originality came from the genesis of the Romantic era, where the advancement of middle-class music making along with the general advancement of music printing/publishing combined. Composers started using super fancy/exotic-sounding titles and used increased harmonic changes to be more expressive and have their pick at the newly free market. I'll elaborate on my own opinions/answer more of the proposed questions if this discussion gets more lively, but I'm more a fan of the way the Classical era dealt with originality, where quality was based upon how well you could use old forms and conventions in your own style/ways. It doesn't sound very modern to us because it was their styles, but Haydn's and Beethoven's music were pretty novel when they were written. The modern era has taken this Romantic ideal of expression and newness to its extreme, trying to push progress without having the patience for it. The elitism and high-artness of modern classical music generally glosses over the music most people will listen to; how subtle its changes are to formulas, but how effectively catchy the songs are. Maybe my thoughts on this will change over time.
  11. 2 points
    Surviving the Snow - Full Score.pdf
  12. 2 points
    Hello, I wanted to write som court music, so here is my little fugue for 2 trumpets and 2 trombones in c major. Please telle med what you think! SimenN
  13. 2 points
    Composition completed on 12/30/2015 You also can watch this piece here -
  14. 1 point
    Composition completed on 01/04/2016 You also can watch this piece here -
  15. 1 point
    I agree with @caters and @Monarcheon. You chose your chords tastefully and didn't shy away from dissonance every now and then. The image I got from the music was a sad college student sitting alone in his dorm, staring out across a campus full of a thousand strangers and yet feeling more and more lonely. (Also, it's raining, so the students are carrying umbrellas or wearing ponchos.) This is definitely something I would listen to when I'm feeling that way! So, in short, I do think you have talent. Not everybody can write music that invokes such strong feelings in others. I look forward to more of your works!
  16. 1 point
    You have some great sounds, great runs that amplify the epic feeling. Please excuse me, I'm tired and kind of thought "well I have some time to review another piece before I go to sleep", so I'm simply going to lay out the points that are problematic from my point of view, things that you might want to take another gaze at: 1. You might want to avoid the repetitive bass drum at the beginning. I don't remember where, but I read somewhere that epic pieces should use big booms once in a while. 2. the part where the guitar gets in feels suddenly unconnected. The easiest way, welcome in this genre, is to use a reversed splash cymbal or a "woosh to hit" to ease the transformation. 3. I believe that you use a little too many instruments for a 3 minute piece. I tended to do it as well at my first two years when I "just wanted to make the piece go forward by adding a new color, therefore adding a new instrument". This one leads us to point four. 4. Use dynamics more. Remember- you have to start small, or at least have some softer parts in the middle. You can grow back from there, it's important that you let the listener's ears rest a little, and then give them something much greater in comparison. I hears that around 2:10 you took out everything but the guitar but... I don't know, it kind of felt like you decided to leave one color in your painting rather than painting in some warmer/softer colors here and there. 5. Some parts lack bass. Do you know the Inception brass? This "BRaaaah"? They tend to put these in epic music. (https://youtu.be/830I9w7I7wM) I heard that you used piano bass notes, which is a sound that I personally really like, but at some parts it lost some of it's power because there just wasn't enough bass. At least it felt that way for me. Here's an epic piece I enjoy listening to: https://youtu.be/J-0TcwJT4go Here she uses a group of small percussion instruments to "keep it moving" and makes good transition and scale changes using dynamics and harmonic changes. Yes, she uses a lot of instruments, but the progress doesn't come from there. I encourage you to take a listen to this, maybe to other boss fights to computer games? Try to learn from there. It's not that you piece isn't good, but you can always try and make it better, or make the next one better. Hope you have fun and that I wasn't too harsh on you. I'm going to sleep now, hope that was helpful.
  17. 1 point
    Yep, and an F# in the alto line a few measures later. I would think Sibelius would have automatically fixed that... never thought to check. Thanks for pointing that out!
  18. 1 point
    The piano arpeggios are amazing!!!
  19. 1 point
    Thanks, Ken. I wasn't familiar with the Symphony of Psalms, so I just went and gave it a listen. Boy! That's very Stravinsky-ish! Thanks for introducing me to that!
  20. 1 point
    This is a really beautiful piece! As someone who likes more lyrical music, this was a real pleasure to hear. And you really did capture the feelings of the struggles between winter and spring! It reminds me of the music of late-romantic Scandinavian composers, like Grieg, or Sibelius, or Kuula, for the beautiful wintry sound, though you still managed to make it sound like it belongs in the present era. Well done! 🙂
  21. 1 point
    It would. It's mono thematic. I think of Stravinsky's Symphony Of Psalms in contrast where he simply wrote Hallelujah for the choir to sing. But maybe that was more for musical punctuation.
  22. 1 point
    I never actually used the divisi versions of the instruments so I wouldn't know.
  23. 1 point
    Yikes. If you never learn something crucial to the creation of the canon, you're missing out on a huge portion of the whole, in this case the musical era you're currently living in. While I personally am not a huge fan of the Galant sound, you'd better believe I busted my ass understanding how it works. And besides, people already have a sense of when pushing a boundary goes too far in a given instance. The Beatles's Revolution 9 stained the White Album for the longest time. I agree with the second portion of this statement, but not the first. People have a tendency to take art too seriously, looking for meaning and praising its contributions to the development of the genre as a whole. While I personally think it's kind of wasted effort on their part, I don't think it stems from any knowledgable preference. Ask most people and they'll tell you they don't like Country/Rap/Classical/etc. and be unable to say why. I hate it when people praise something for being "ahead of its time", because they look at things outside what makes the art good in the first place. Succinct, and I think the best way to sum this whole thing up, personally. It's no good to rush through the learning process; things take time to form expertise and that's okay.
  24. 1 point
    Third Version. I wonder if the build up is okay? Feedback is most welcome
  25. 1 point
    @Mark101 Great point! I think individual preferences is what makes art exactly that: an art. Nobody corners the market on the definition of beauty; in my opinion, the best artists are the most versatile—those who can adapt and write to many different audiences. @Mark101 I must also agree with this. If our end goal is simply to be original, then we miss out on so much of the journey! Hopefully, if we're doing it right, originality will be a byproduct of our craft. I like to think, in the future, folks will be able to hear my music and go, "Oh, that's a Brazeal. You can tell because of [variable x, y, z]." @aMusicComposer Right on! I am perhaps proclaiming my ignorance here, but all (hyperbolic language: I mean a lot of) atonal music sounds the same to me. I usually have to listen for specific instrumentation to have some hope of identifying the composer. (Oh, it uses an ondes Martenot—must be a Messiaen.) @KJthesleepdeprived Very well-put, and I agree wholeheartedly! I'm also not "musically educated," although I've heard it said if you don't get a musical education you're uninformed, and if you get a musical education you're misinformed. (Ok, not entirely true, but you see my point.) @KJthesleepdeprived Good to know we speak the same language! 😉
  26. 1 point
    LOL, I know what cojones means, I live in Spain and am married to a Spaniard, so I speak Spanish very well, but to translate literally would not be understood in an English speaking forum. Pero en Español, es un frase muy comun, que significa, mas o menos, lo que he dicho, por lo menos, en este occasion.
  27. 1 point
    @caters I must say that I personally do not think that atonality has "ruined" music, rather taken it down a path that no one in centuries past expected. I don't like Schonberg's atonal music (as a personal taste) but as a composer he did so much more, and I find some of his early works pleasant. What I don't like is people that copy Schonberg's atonal ideals, as so much music composed these days is.
  28. 1 point
    I love the addition of the guitar to the song
  29. 1 point
    I'm actually impressed that you were able to pull together a demo of such good quality. It's not the easiest music and doing multi-track recording is an art of its own. William Blake's poetry is always a great place to start. I assume you're aware of the place of this particular poem in history, but for anyone else out there reading this later, this was part of Blake's "Songs of Innocence" and "Songs of Experience," written in response to reporting of horrific child labor conditions in Britain. Blake, and later Dickens, and Elizabeth Barrett-Browning, among others, tried to use their literary skills to change hearts and minds and get legal reforms passed to protect children from poor backgrounds from abusive working conditions. Blake did a lot of contrasting of innocent, peaceful childhood with the more common fates of children at the time. The harmonies in your first "sleep, sleep" section do a nice job of foreshadowing that line between sweetness and danger, very appropriately to the text and larger context of this poem, and then "all creation slept and smiled" is just lovely, and you keep turning the dial back and forth on the tension throughout the piece. It works very well. Conventionally, here in the US, your tenor line should use a different clef, if you write this out as four separate staffs, but I don't know what is common with publishers where you are. It might be helpful to provide a piano reduction for rehearsals. Sounds lovely! I hope you get a recording of the Candlelight Service!
  30. 1 point
    Hi, Theo. Here's how I handle that issue. Change the time signature to whatever you need to so you can make that tuplet. Then hide the time signature and the tuplet number. You can also make all the tuplet notes "small" notes through the function with keypad. You can see that I did that with Sibelius (quite effectively, I think) using that method on page 16 of the attached document. I realize I'm a little bit late, but I hope this is still helpful.
  31. 1 point
    If the mechanic remake didn't have a theme song, this should've been it.
  32. 1 point
    Wow, is (sorry for my words) fking beautiful... Incredible piece
  33. 1 point
    Thank you all for the responses! I'm glad to see differing perspectives on the matter. @Luis Hernández : To briefly comment on your point, I rarely (intentionally at any rate) use a well-defined form in my music writing. I'm not really opposed to them or anything, it's just that most of the ideas I've had that I've been able to expand on haven't fit into a proper form. @Guillem82: I didn't post any examples at first, since I didn't want to taint people's answers with reactions to anything specific. That said, now that I've gotten a few, I'll add some examples to my first post. I'll probably post a few more in the 'upload your compositions' section as well; I've finally managed to get myself to go and join one of these communities, so why not make good use of it?
  34. 1 point
    Very beautiful. Sometimes the time signature is a bit odd. Why isn't the beginning in 6/8?
  35. 1 point
    This is awesome! Looking forward to checking out more of your stuff!
  36. 1 point
    I love it! the feeling of threat and restless I all through the piece, full of dissonances and then the great explosions of rage...it's captivating. You created a great atmosphere here, congratulations!
  37. 1 point
    The Brahms Violin Concerto is one of my favorites:
  38. 1 point
    J Santos and Ho Yin Cheung, Thanks a lot for your very kind comments, I really appreciate them and I'm glad you liked it. Kind regards Mark
  39. 1 point
    I can tell the mistakes 😂!! This piece is a brilliant one, that moment of 1:54 really makes me feel incredibly stressed (in the good sense, at least I bet you wanted that sensation there), I can hear the fear and the agitation on that part. I love it!
  40. 1 point
    What a great job!! Keep it
  41. 1 point
    Very nice! (I love it when people write introductions into the scores) Sounds very nice.
  42. 1 point
    I feel like this has ripped off something else but I'm not sure. Please do let me know what you think. Thanks.
  43. 1 point
    Thanks @SilverWolf and @Luis Hernández for the nice comments. Yes I had a feeling that part has been used somewhere else.
  44. 1 point
    This is definitely music that I could listen to, to relax/mellow out.
  45. 1 point
    Samples are all staying one-level dynamically, especially in the intro. Watch through a visual eq or something to see which ranges are moving dynamically and which are stagnant. I can hear it especially in the electronic string pad in the background - your brass, synths, and melodic strings are much more flowing. Great job with the trailer-esque percussion. Not easy to nail that but you did! Around -1:30 it would be cool to enter some variation to the texture and/or melody. Cut something out, change it to pulsating rhythmic synths or strings, re-orchestrate it, change the dynamic. That was probably your moment to effect a build for the listeners. Great change at -:39. Biggest comments are dynamically this stays within a pretty limited range. Expand louder and quieter to give yourself some more color (could also effect some of these changes with velocity). As a composition it's mostly good, I'd listen for when I've heard "too much of the same or similar", then add or cut or change something once to make it fresh again. Good work! Gustav
  46. 1 point
    I think there might be a problem of concept. If you want to write baroque counterpoint you must follow its rules. You can do any kind of counterpoint, but don't pretend to write in baroque style being out of it. I don't mean it's wrong, just a matter of what you want to do and .... doing it. One thing I see in this example is more parallel than contrary or oblique motion.
  47. 1 point
  48. 1 point
    Concerto per violino, archi e bass continuo in b minor "Paradiso e inferno". written 20.06.19 - 25.06.19. Been some time since i wrote a concerto, so here is my summer contribution. Three part concerto written in the late italian school. I. Allegro - paradiso: 4/4 time, livly tempo and fugures, high in the register of the violin (Heaven it is!), the triumph key of d major. II. Adagio - cadere dalla grazia (fall from grace) 4/4 time. slow pace, rethorical use of rets, b, minor III. Vivace - inferno, 4/4 time, fast pace, slaming fugres, chromatic downward passages (going down to hell), b minor Please tell me what you think SimenN
  49. 1 point
    I've posted these before but I though I'd share it again as I made some minor edits since it was last posted on some of them. This is a set of six pieces dedicated to my daughter that I wrote around the time she was born four years ago. The keys of the pieces (loosely) spell out her name. They have a pretty large range in terms of difficulty since I initially set out to write short simple pieces suitable for an intermediate level piano student but over time, they evolved to become more thematic in nature loosely depicting a childhood scene. Here's brief description of each one: No. 1 in C major - A simple sonatina movement, perhaps depicting a child's first steps on their own. No. 2 in A major - A waltz-like piece, perhaps hinting at a young child dancing with her doll (my daughter loves to dance). No. 3 in B-flat major - A fast scherzo somewhat capturing the happy chaos of young children playing together. No. 4 in B minor - A hybrid rondo-variation form. The A theme is supposed to depict the child in various moods over the course of the day as he spends the day with his mother, starting off a little grumpy when he wakes up and ending quietly as he is put to bed. No. 5 in E minor - A set of simple variations on "Twinkle, Twinkle, Little Star" which used to be my daughter's favorite song as a toddler. Not surprisingly this is her favorite one. No. 6 in G major - A march celebrating the transition from childhood to young adulthood.
  50. 1 point
    Here's in the slightly lower audio quality the Overture from the musical! :)
×
×
  • Create New...