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Showing content with the highest reputation since 07/16/2018 in all areas

  1. 2 points
    Just two short parts. I wanted to write "emotionally" using contemporary tools. I think most contemporary idioms are linked to ancient ones (in music). @Rabbival507 The second part (2:35) uses the In Sen scale all the time in the right hand (except a few passing notes), and also in the left hand but less. I think you called this scales Miyako Bushi.
  2. 1 point
    Hi all, So, I've been away from this site for a few years - long enough that I find it has changed and my profile is completely empty! It's time to change that. In February, I had the opportunity to perform a recital of my own works, this trio among them. My colleagues and I decided afterwards that it would be worth the trouble to do a house recording of it. This is the result. My personal musical preferences lie squarely in the conservative German branch of the 19th century, and I've always believed that a composer should write the sort of music he or she likes to hear. That's what you can expect from this trio with respect to form, harmony, rhythm, and so forth. It's in four movements. The first movement is a traditional sonata-allegro with slow introduction. The second movement is a scherzo and trio. The third is a theme and variations, based on a melody I wrote when I was 13 or 14 (side note - NEVER throw away the ideas you compose when you're young!) The fourth movement is rondo-like arch form. I hope you enjoy listening to it as much as we enjoyed performing it! I have decided against posting the score. I hate to have to take this stance, but as an essentially unknown composer, I am deeply reluctant to post my scores to an internet site that is open to the world when I know colleagues who have been victimized by thieves stealing their works and claiming them as their own. Even with a legally copyrighted work, it is stressful, time-consuming, and expensive to take these people to court. I apologize to those who would have liked to see it.
  3. 1 point
    Please read this all: I'm back for now. Music is something that eats away at me, and I struggle to find true joy in it anymore. I strive to do its power justice, but I always feel like I come up short. I so desperately want to convey raw emotion, but even through all of my studies, I still haven't done it. This piece was written to get as close as possible to it. It was written for the 3rd level of the Seattle Youth Symphony Orchestras, and while I wasn't the conductor, I was at every rehearsal trying to show these young adults that what they are doing is incredibly special and to take this opportunity to tear through their instruments, cry, scream, and destroy as much as they wanted. Some understood, and some didn't, but even for a student orchestra, this is one of the most overwhelming performances I think I've mustered. As a music educator and conductor, I never want to lay restrictions on performers, since teachers and some conductors are the reason I despise playing instruments now. Since they are a student group, I had to limit some of the extended techniques, but I still think they did a fine job. This piece is about the heat death of the universe. You can find program notes in the YouTube link, but I do love this passage: "Audience, please, sometime during this piece, close your eyes. What do you see? Black? Hints of red or orange caused by the cover of your eyelids? Perhaps this is true, but whatever descriptors you used to describe the “nothing” you are looking at, it is not what nothingness is." I wanted to show to the audience the power of everything and the power of nothing and take them through a painful rollercoaster of emotions. I didn't want this to be a passive piece. I honestly don't think any piece should just be consumed passively. Time is all you get and if you fill it with rules other people implement on you, you're surely going to have wasted it. Consider this a mock entry to the "End of the World" competition in a way.
  4. 1 point
    T H E E N D O F T H E W O R L D YC SUMMER COMPETITION: 2018 Welcome, everybody to the Young Composer Forum's Summer 2018 composition competition! Be it the apocalypse, the rapture, or nuclear annihilation, people throughout the years have always had concerns over the world ending in some way or another. It's exciting, and awesome, and terrifying, yet nobody knows exactly how it will come about. In particular, composers throughout the years have tried to emulate the afterlife, or this process of death (Tchaikovsky Symphony No. 6, and Holst's Ode to Death, etc.) and now I'm asking you to put the fate of the entire world into your hands: how's it all going to go down? GOAL: Write a piece of any instrumentation under the theme of "the end of the world". Note that this is not a piece just about death, however you may follow one person/group of people through their experience of a dying world. You may call upon any context, inspiration, or story to make this happen (i.e. anything from the rapture to alien invasion). ELIGIBILITY: *You must be a member of the Young Composers forum in order to enter. Membership is free and found in the top right corner of the page. Sign ups for the competition will be in the comments below. Simply note that you are interested in judging or participating. *There will again be no limits to instrumentation. Extra points will not be given for smaller or larger ensembles. *The minimum length for this competition is reduced to 3 minutes, but keep in mind you'll have a lot to write about. The maximum is also reduced to 20 minutes. *You must have some sort of audio rendition accompanying your work, otherwise your entry will be disqualified. *A score is required, but is not as heavy a focus as previous competitions. If you want to enter and are not proficient at engraving, message @Monarcheon. *If you volunteer to be a judge, you may not enter as a contest participant. *Entrants should have an intermediate understanding of engraving and orchestration. *Entrants may only submit one work. SCORING: 1. Submit a piece that properly depicts the end of the world in any context. This piece should progress like a story, of sorts, not just simply the event that causes the world to perish. The relation to the source material should be clear in your music in one way or another. Since it is difficult to convey things through sound, your job is simply to convince the judges that you've thought about how to make it work. (/40) 2. The more technically based compositional aspects are judged here. These aspects include score quality (/15), audio file quality (/15), and orchestration (/15) 3. Submit a writing component explaining the context in which the world is being destroyed and explaining how your instrumentation and compositional sections depict your writing. This should include what techniques you used to demonstrate certain aspects of each, keys, styles, or anything else you feel is prudent. (/15) TOTAL: /100 Mark your entry interest by: August 1st Pieces must be submitted by (in another topic that will be posted later, not this thread): August 7th Judges must be finished grading by: August 14th PRIZES: All entrants receive detailed feedback on their works. The winner’s piece will be placed in the YC Competition Hall of Fame. It is possible that winners receive a full year’s subscription compensation to Sibelius, but we are still working on that (THIS FINAL PRIZE IS NOT GUARANTEED). ENTRANTS: @bkho @Youngc @Gustav Johnson @Ken320 @edfgi234 @Hugget Zukker @Noah Brode
  5. 1 point
    I'll give it a listen because I promise though it sounds like it's going to be extremely modern so I doubt I'll enjoy it. Ok this is not how nothingness sound like either. In order to listen to nothing you have to be deaf, because (I think that) even in space you hear your own body. It could be, as you said, "the end of the world", but could be the beginning of a different world as well. Things not only end in chaos but also start with it, as far as I know. Maybe the world started slowly, maybe the big bang was much slower than we think it was. But ok, I'll go with you, this is the opening for the "end of the world" competition. The general sound is terrifying in a way, but that's probably just cultural context. I like the fight that you had them use their own voice, it adds lots of power without having to add choir. What does the voice in the recording say? It's got repetitive pretty quick, makes it more difficult to listen to the piece. Now it's got to the level of "really annoying" but I want to listen to until the end. Ok the thing he says in the recording must have a critical meaning because you used it trough the whole last movement. Like me quoting Dies Irae if I had the time for the competition? I assume you, as a more experienced musician and human went for something more sophisticated. What is it though?
  6. 1 point
    you've taken me on a breath taking journey. I slowed my breathing throughout your song. I mean you've surpassed anything I have done yet so I can't say anything. Lovely piece. I have nothing else to say.
  7. 1 point
    Wow, what a great piece! I find it coherent, modern, beautiful "v¡everything" (harmony, melody, rhythms). Also very nice extended techniques here and there, very effective. The sound is not so bad... I think the balance between the three instruments is very good, the three take the leading voice alternatively all the time. The minutes went very quickly I didn't realize it was coming to an end. Congratulations! About what is to come in your life... I don't know what your feelings are (not my concern, sorry). So I hope the best. I believe you have the music inside yourself. So you'll make it go out in the future. This piece is the proof. I hope you can stay in touch ...
  8. 1 point
    Good! So take it as an opportunity to dig deeper and develop!
  9. 1 point
    I really think the piano could use some velocity differences and humanized timing. Also it's kind of thin on it's own. Maybe a different sample or consider lower accompanying chords. Too much reverb and delay – dial it down and send the delay to the reverb as well. Low strings in the intro could do well with some dynamic CC riding. Too static. I don't know reFX Nexus but maybe it's just moving the mod wheel up to phrase it. The effect on 0:34 comes WAY out of left field. Dial it down and maybe send it to a room reverb (what's called ER). It's a night and day difference between where the piano and strings sit and where the effect comes. To ease the listener you could maybe do a reverse-reverb trick leading up to the effect, so we know that somethings coming the first time. Drums could do with some ER's as well. The string melody on the other hand is a strange choice for sound. Other than it's lacking the same dynamic shaping as the cello and doesn't emphasize your nice turns in the melody it doesn't break the phrase anywhere. If this is the best sample you've got you could try EQ'ing it so the highs stand out more (this can also very well be done with a saturation plug-in of any kind). You could also double it (unison or at the octave below) with a legato saw lead, any woodwind sample or a more tightly attacked string sound. Thanks for sharing!
  10. 1 point
    Woah a lot of things happen under this sea!! Really like the overall atmosphere and sound, after 2:30 I had kind of the feeling that you discover a hidden palace full of wonders under this sea, otherwise I don't know why it should go so epic! Beautiful job, very fluid, just like the water!
  11. 1 point
    I think a climax depends on what happened before. OK, supposing you want to use previous material, I don't think it's a good idea to go atonal because it's a radical change of idiom. All the tools you mentioned are good, but some more;: Modulate to somewhere higher (a second, a third). Use previous material with a brighter scale (if mayor, change to lydian).
  12. 1 point
    I you think so, it's good. I think it is because it souns very nice. I seems exotic, of course, but it's hard to take the mood of a traditional music. Not only is the scale needed, but rhythms, instruments, etc... Anyway, I am a total fan of using any kind of scale.
  13. 1 point
    As far as I know, it is slightly harder to play flatterzunge below low D, but you do not need to worry about this. There is namely a solution: throat flutter. ''Throat Flutter can be very useful in the low register and softer dynamics for a clearer tone.'' Source: https://www.flutexpansions.com/flutter-tongue
  14. 1 point
    The flute has quite a large tone difference between registers (not as much as, say, the clarinet though). If you took the whole thing up an octave, it would not necessarily be louder but it would become more excited. Also, the last high B is difficult to play up the octave, especially jumping from a D. It would sound nice both ways, but it really depends on the musical effect you want. Good luck with your piece.
  15. 1 point
    I think so.. the G in m. 225. It's in a middle low range. The higher in the flute the player has to play more "forte". The sound is more penetrant bue clearer. I think that if your high B is a exception to the general part for the flut, I would leave it as it is.
  16. 1 point
    Here you can select the resolution life thoughts - youtbue
  17. 1 point
    The main issue I see here is that the writing, without being bad, is not very idiomatic for the piano. Sometimes there is a sort of dialogue between one phrase in one hand and the other, but most of the time the development is vertical with both hands in parallel motion. This is not bad, whenever there is something more that takes advantage of the possibilities of the instrument: polyphony. The way it is, it seems like a long prelude or introduction to something (too long for that). There is also a come and go in styles: baroque, romantic, modern.
  18. 1 point
    I need to make kind of "tips for the beginner composer", but I want to use the time I have left to try and finish my piece. Anyway the tips I keep giving is- longer isn't necessarily better. I didn't have anything I could stick to. No repeating theme I noticed. Sometimes it's fine, I tend to do that too. You didn't change the dynamics, and that bothered me. You can't keep playing loud all the time. Loud all the time is not loud. That leads us to the other tip, your good choice: you wrote for one instrument. You limited yourself. And that's so great- that's the other tip I usually give to amateur composers (not to worry, I am one myself but I have a few years of experience). When you have one instrument you have to use your other tools. Modulation, dynamics, tempo, rhythm etc. Challenge: try and limit yourself even more. Write a piece for piano only using F E and Bb. Or any other combination. Try to have a repeated theme. Remember that longer doesn't mean better. I hope I wasn't too hard on you, now I got to go wash the dishes or my father would kill me. Hope that was helpful, bye
  19. 1 point
    Glad you figured it out! Good luck with your new piece! All the best, Theo
  20. 1 point
    In the middle part the strings come and go with too difference in volume (I think). Also in 2:35... The percussive part is nice.
  21. 1 point
    OK, Hope the best with your musical, I think it deserves it.
  22. 1 point
    This is a really awesome piece. I'm really happy you were able to get it performed with a full orchestra, especially in the church of San Miniato al Monte. I'm looking forward to hearing more music by you. All the best, Theo 🙂
  23. 1 point
    Okay this started out beautifully and when the trumpet came in, I felt it broke the magic of it all. But really enjoyed that first half a lot.
  24. 1 point
    @Arthur1124 It's-a me! Someone that will listen-a and review your piece-a! (sounds like pizza) 9 out of 10 from me. The only problem I have is that "wak wak wak" in the background. I guess it makes sense in the mario games context, for they do things like that a lot, but for me it was a bit annoying, and could get more annoying hearing it as a loop. I'd cut out some of it. Other than that... great job-a! Definitely a mario- jumping around happily smashing stuff.
  25. 1 point
    It definitely sounds like Mario! I don't find the transitions "stiff" or whatever, but I'm not really a fan of the counter melody you have around 30 seconds. That's my only complaint really.