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Showing content with the highest reputation since 06/27/2021 in all areas

  1. A short violin tune. I tried to make it sound very-very dark this time.
    5 points
  2. Hello! I decided to write a classical mini-little piano sonatina allegro movement! I didn't use any dice or try to make the music overly complicated or anything. I was going for just a pure easy-listening simplicity and ease of playing. It's not exactly sonata form as there's scarcely a development here. There are three themes though, which come back in the home key in the recapitulation. Let me know what you think and I hope you enjoy!
    4 points
  3. Good evening everyone, I had the good fortune of having my piano tuned for the first time in well over a year a couple of days ago. I'd almost forgotten how nice it could sound and feel! Anyways, given the wild hot/cold weather we've been having here it'll probably only last a week before keys start sticking and the action starts creaking again, so I thought I'd better take advantage of this little window of piano bliss. Here's a link to a collection of five piano character pieces. Written in late 2019, it's my most recent work, and actually the only thing I've written in the past four years or so. As one would expect from the title, these are melody-oriented and not formally complex. Hope you enjoy!
    4 points
  4. Sheet music seemed ok to me given it's an example. You can trim the bars at the end when ready. Point is, composing melody is so personal a thing that it's difficult to give feedback. Always easier if they have a context/a background against which they're set. I found them rather choppy and angular but a) that's just me, b) in another form they might transform to something very lyrical. I mean, just changing #2 to a legato and perhaps altering rhythm and stress makes quite a difference in mood. 'Choppy' might be what you want (a sprightly ballet scene or something) in which case fine. It might still be worth looking at traditional melody writing (if you haven't already) just to broaden your repertoire. Traditionally you'd have, say, two balanced parts, the first ending on some sort of imperfect cadence, the second on a perfect one. Also worth learning a bit about modulation as melodies usually lead somewhere which might be to a new episode/melody in a different key. Likewise you might have a surprise modulation in a melody but need to know how to get back to the home key. These things take a bit of practice across time but they come in the end. Sorry if you already know this but in case others don't.... Usually, combining melodies counts as 'development' which often needs movement around different keys. (for those who want to explore this from scratch have a look at almost any Mozart Sonata first movement or Eine Kleine. There's a further point... writing for a melody instrument other than keyboard, the harmony is implied in the melody. You seem aware of this but it's worth experimenting with greater variety in a tune like this. For example, bar 3, shift the whole thing up a minor 3rd (to A flat) then back down in bar 4 to get back in the home key. Can you forgive me quoting your tune but changed thus, as an example? Must admit I've never thought about compositional goals. It's been about self-expression above and beyond the capabilities of words and, if I get the chance, make a little money out of it with some commercial fragments or at least a decent dinner and a few beers if working with someone else for nothing! (which has little to do with self-expression but what the 'client' wants!) Cheers.
    3 points
  5. I had a creativity outburst at the beginning of the pandemic, and wrote many pieces. In this it's a fanfare following a late-Romantic, slightly cinematic aesthetic, reminiscent of Korngold and Richard Strauss. When I posted this piece in another place, a player of the Sophia's Vereeniging symphonic band of the Netherlands asked me if they could play the piece, and I said that of course. There've been some rehearsals, but they had to be postponed after yet another spike in Coronavirus cases. The score can be seen here: https://albertdelaf.com/op13_en/
    3 points
  6. Hey everyone! I'm inviting you to check my new piano solo "Wasted Tears"
    3 points
  7. These two piano pieces were created by me back in 2014. They are some of the first pieces that have a very simple harmony, yet sound quite natural and competent. Especially in the re-recorded version, which is presented in this video.
    3 points
  8. I composed this piece last year, but I hope you enjoy. The piece is relatively straight-forward and uncomplicated, and it is about dusk (gloaming).
    3 points
  9. As usual, not that I try to but it usually just shakes out this way, I'm gonna have the opinion that induces the most rage. So before we begin Okay let's do this. Firstly, I'm not actually certain that what you describe — composers and musicians not showing up to concerts — really matters. Actually, I would say it's often better if they don't. I, for one, don't actually make music for musicians to listen to; I just want normal people to like it and listen to it. But I find getting musicians to listen to new music is no problem. On these forums or whatever, I can usually expect to get a few dozen plays or something. On YouTube, some of my tracks wound up getting into the recommended feeds of normies and skyrocketed to tens of thousands of plays and hundreds of likes. I am always glad when musicians, especially ones much better than I am support what I do and like it, but it means a lot more to me when the average person, who just got off their boring, soul-crushing 9-5, stumbled upon my music, thought it was freaking awesome, and shared it with their friends because it brightened their day that much. Maybe, it even inspired them to get into composing themselves and that's even better. Then, a beginner reaches out to me via forums, email, IRL, whatever and is asking me for advice on their own stuff and how to do something. That's also humbling and good and it's actually gotten to be a bit too much this past year (which is why I'm making some online courses and prob gonna offer some skype lessons soon) too keep up with. All of that, in my opinion, is far better than musicians showing up. I played in rock bands and let me tell you something: The brutal reality of 99% of live music today falls under two categories • It totally sucks. Standards are very low. I can't tell you how many years it took before I could get to jam with a band that could actually play IN TIME with each other and would show up. I played alongside a lot of bands that just friggin' sucked, dude. They played way too loudly, too much distortion, singer couldn't sing, out of time, etc. Then, after the show they'd come up to us and be like "Hey, you guys were awesome, man!" and we'd say "Thank you" and then were always like waiting for us to say they were great too and looked disappointed when it didn't happen. It's like, well bro...I'm not gonna lie to your face and say you were amazing when you clearly bungled the song, don't know how to write a coherent piece, and couldn't even play in time with each other. If someone came up to us and said "Hey, you guys kinda sucked tonight", we were willing to be like "Yeah, it wasn't as good as it should have been". Most musicians don't have that kind of self-reflection, so what happened at virtually all of these shows, is that the "audience" was 100% "musicians". Just guys in bands that suck as bad as 9/10 of the other bands. It's a total echo chamber and "trophy-for-everyone" fest. People don't come because the bands aren't worth seeing. • Like with art galleries, there are many talented people out there. They don't get promoted though. If you have some sort of social justice message to sell, you can just literally tape a banana to a wall and they'll promote the crap out of it for purely political reasons. The guy who can actually sculpt, compose, paint, etc? Nope. Not interested. The industry is full of gatekeepers/politicians. This then harms the actually-good composers when they do get promoted, because most people just assume it's more modern-art garbage. Now I will say, I'm not entirely sure what it's like in local orchestral or chamber music "scenes" as per point 1, but I know it's true for point 2. The local orchestras near me almost never play anything by new composers and the few times they seemingly have, it was pretty much not even advertised so I never would've known about it anyway. Last point • You have a niche category of music Most people today, including musicians, outside of a film/game context, do not have any interest in orchestral music. Even I can honestly say I don't feel compelled to go watch a string quartet + winds duo. People want to have fun at concerts as much as they do hear the music. People want to dance, they want lights, they stage antics and performance, they want the social aspects of it as well as the music. Sitting silently in a cathedral or hall to listen to a cellist saw away might sound nice and have a nice atmosphere to it, but it's just not something most people are going to make an afternoon/evening out of, or certainly pay for, when there are (at least pre-2020) so many other more-fun things they can be doing. Historically, the orchestra was generally the music of rich people and to a lesser extent, churches. For the peasants, the unwashed masses, the normal people — the fiddler on the street or at your spring festival and drums is what they know as music and they'd have much rather been doing that than going to sit quietly in church and listen to a choir sing ANY piece old or new. In other words? Musicians aren't showing up to local concerts? Good. &*#@ 'em. If it's mostly musicians showing up, it means that the music is pretty bad. If you have like 40 normal people who just want to listen to music showing up to an orchestral/chamber music concert in 2021? You're doing very well, I'd say.
    3 points
  10. Sinfonia in F major - scritto a mia moglie Trine Vacation from wrok and some spare time i wrote a new Sinfona for baroque orhcestra. This time in the key of F major and dedicaed to my wife. Insted of writing full suites or momenets my sinfonias are two moment works (Grave - allegro). A slow lyrical movement with a fast fugual movement. Grave: Calm, lyrical and from my perspective romantic movement. Keeps for the most part in the clam key of F major. Allegro: Majestic theme, 4 part fugual exposition in F major. Middle section in d minor breaks up the fugue with sudden change of charachter and emotion.
    2 points
  11. Hello guys, I think I’ve finally written a complete theme. However I’ve been struggeling the last few days. This is because I am totally lost where I want to go from here. Any ideas would be highly appreciated.
    2 points
  12. I think any hobby becomes more rewarding when you have a goal to aim at. My mid term goal is to compose a piano sonata, my long term goal is to write a full scale piece for an orchestra. There are many shorter steps to take before I get there. I need to improve my harmony, learn orchestration etc. Music theory is a little like mathematics in that its best learnt sequentially, learning to count must come before learning addition and subtraction, and addition and subtraction before multiplication for example. I would highly recommend watching some YouTube videos on note value, rhythm and time signatures, then scales and key signatures. Then move on to melody writing especially the idea of the musical sentence. Learning these topics well will help you in your melody writing goal. I really like some of the ideas in your melodies and they are a great start. I took the liberty of reinterpreting the motif from your first melody into a simple sentence to give you an idea of how once you have a catchy rythm you can easily expand it once you know sentence structure.
    2 points
  13. Hello! I wanted to share with you a waltz suite I finished. I made it for a lady who really enjoys having fun, dancing, talkinig, being herself, and overall enjoys life. I will play it for her when the time comes. But for now, I will share it here. Let me know what you think! I hope you enjoy it and it makes you feel like if you were in a 19th century ball. And yes, waltz 3B is inspired by Strauss II Die Fledermaus Overture 🙂 Ps. Ignore my lame attempt in the youtube video when I tried to make a NAXOS video with that image.
    2 points
  14. Here is the first movement for a trio sonata in Emajor I am working on. Any feedback is welcomed!
    2 points
  15. Hi Jian, I'd say that 4th is dissonant considered in an harmonic superposition rather than as an interval wether it be in the bass or in the soprano. In Fig.73 b. 7 it implies a chord of Fmajor b4-5 it's actually present in the Tenor D to G 4th as a succession of two notes will be part of a lot of leaps inside a chord (from fifth to fundamental) or common chord succession (circle of fifth, cadences etc...) You won't found, however, both notes of a 4th between to voices attacked at the same time. 4th can appear in certain circumstances from passing notes and results from the incompletion of implied chords [A1]. Dissonnances will be aug4th dim5th, maj7, min7 (from memory I've never seen an interval above the octave in Baroque counterpoint or it would result from exeptionals circumstances). I'd say that, maybe not in Fux's rigorous counterpoint, aug5th is possible if resolved towards the interior of the interval [A2]. I hope it is helpful ☔
    2 points
  16. Hi everyone, I'm in the process of uploading as much of my music as I can on youtube, cuz what good does it do sitting around in my computer huh? Anyway, here's my second piano sonata as it was performed in 2016. It's divided into 3 movements and all three movements are following the typical sonata-form conventions to some degree or another. It took around 4 months to write the score and around 6 months in rehearsal time to get it performed to an acceptable degree. The third movement is specially challenging, but I think it sounds cool. Either way, have fun.
    2 points
  17. That's actually very common for sonatinas, to have more of a bridging passage in minor than a true development. Sonatina in C by Clementi for example(the very famous sonatina for beginners) has a bridging passage in the first movement that is in C minor briefly instead of a true development. Even some full sonatas(namely the Moonlight Sonata and its first movement) have a similar structure to the typical sonatina form. And you certainly met your goal. It is easily listenable, simple, but not so simple that it becomes boring, and definitely playable(I'd say it's at about the same difficulty level as the K 545 sonata, though that's just from listening).
    2 points
  18. This is a piece I wrote recently, and finally transcribed. (transcription is a work in progress). I wanted it to sort of have a story-like quality to it. Your input is appreciated I hope you all enjoy it 🙂
    2 points
  19. Hello everyone. I have felt that I should start taking the time to post some of my music on YouTube, so here is a set of four short poems for piano. Feel free to have a listen!
    2 points
  20. It's hard to speak to this without having been on the scene to see how things were marketed, but I work in the art world as well as the music world, and starting anything is always a real struggle. You have to expect it to take 3, 5, 10 years for an annual event to really take off. You have to plan to spend money on advertising and venue, and paying staff to organize everything and not let your heart break when the first few years are really sparsely attended. I just sold work at my town's brand new summer arts festival last weekend. They made a huge effort to make it worth my while to be there, because it was the first year they've tried to do this, and they knew that attendance wouldn't be great, so they provided tents and chairs to save all the artists having to set up their own, and there was free parking for artists and attendees all day, and volunteers to help you set up and pack up and to watch your work while you ran to the bathroom... and instead of charging artists a booth fee for the privilege of selling our work, the city actually paid a stipend to thank us for taking a gamble on a brand new event when we could have been somewhere else at an established event making money. So you may not have actually had a "musicians don't support new music" problem. You may have had a "this is a new event" problem. The fact that three clarinetists came from the school where someone just did a masterclass is typical. You need to find ways to create interpersonal connections like that to get butts in seats for any event, but particularly for a brand new event. Give each participating musician a fistful of free tickets to give away. Ask them what else is on their schedule for the weeks and months before the event and YOU go to THEIR events, (and deputize your planning committee members to do the same) just so you can stand up in the back of the room when the presenter asks if there are any questions and say that you just love clarinetist x, and wanted to be sure that everyone knows they will be performing again at New Music Fest next month and you'll be in the lobby with tickets later. Talk to the music departments at the surrounding universities and ask if they would like to assign extra credit points to any student who attends your event. Offer to set up a car-pool to and from the event. And remember that working musicians have lots of events to go to, because they are participating in events. I don't go to a lot of concerts because I'm busy being in the concert. I don't go to a lot of art shows because I'm busy being in the art shows. My weekends and evenings are booked between events I'm participating in and rehearsals. I have... no... time. Don't expect musicians to be the bulk of your ticket sales. You need to market your event to the general public. Pop music constantly churns out new songs and people are very excited about it. Pop music also has a massive well-tested marketing engine behind it. It's all marketing.
    2 points
  21. I think this is more the fault of a change in venue than in contemporary composers not being interested in their fellow composers work. With readily available and decently high quality renditions being produced by many composers, the need for concertizing has fallen to record lows. The only reason to get something performed live is to record it and preserve that performance for posterity. People don't see as much need to go out and listen to new compositions for these reasons. Plus they have much more of a choice over what they want to hear - the whole internet is at our fingertips and includes the very new music you're claiming is only available through new music concerts.
    2 points
  22. I have composed a set of 14 pieces for piano which were improvised in the moment. As stated in the description on YouTube, I am open to suggestions about the most ideal ordering of the works. To be honest, all comments are welcome. Below, I have embedded one of the pieces (Currently Occurrence No.7)
    2 points
  23. The Elegy in F minor was written in 2020. It is my second duet, since my Fantasy in G minor for violin and piano, Op. 4. The piece is about 14 minutes long, and contains 2 themes. This performance is a remote recording, and the cellist playing is JonathanCello from Fiverr, who recorded a few of my previous chamber works. https://www.fiverr.com/jonathancello/do-session-cellist-for-your-musical-project?context_referrer=user_page&ref_ctx_id=d3f44413-d69e-4a0f-8b73-8ace49eedd1c&pckg_id=1&pos=1 As always, I hope you all enjoy 🙂
    2 points
  24. This turned out to be a sort of fun-sounding melody 🙂. Suggestions are welcome!
    2 points
  25. Nice piece. It reminds me a bit of Ferde Grofé. Cheers, Jer
    2 points
  26. A lot of countries call bars "measures" (that might help with some confusion - in the UK they're bars!) If you were to have a tie, than there couldn't be any other notes between the start and the end. (Here there is a C between the Ds) Currently what you have is a slur , a curved line across different notes which means to play them smoothly joined (legato). I was meaning the fourth one, here: The last two notes sound a little odd coming after a large jump - but this is personal preference! Probably easiest if I add some more pictures! Just now: There's a large jump between the second-last note and the chord after it which can sound a little awkward. My proposed solution (maybe this isn't needed, but I'll suggest it anyway): The top stave (staff) here would be taken by the right hand, the bottom the left hand. See how I've moved the low D into the left hand, then put a C after it to sound at the same time as the chord? This means that scale line flows well and the chord can sit on top of the bass note. This was what I was trying to put across with that convoluted writing! And no need to apologise, you're just starting to learn! So, the two numbers you have on the music at the very start (4/4 for you), are called the time signature and tell the musician how long each bar is. (There are many different types of time signature, and you can change during a piece if you want - I'll link some theory resources below!) The top number of any time signature tells you how many beats there are in each bar, and the bottom number tells you the "value" of each beat. You have four quarter notes in each bar (crotchets in the UK) - 4/4 ! Some different time signatures: The top number tells you the number of beats (here all my notes are quarter notes, bottom number is 4) A whole note is worth 4 quarter note beats, so you can only have one in a bar (measure) of 4/4. Theory resources: https://www.musictheory.net/lessons - This site starts right at the beginning and contains its own exercises! It also goes up to fairly advanced theory but the "basics" section should cover what you'll need to know to begin composing. Some books: https://www.amazon.co.uk/s?k=music+theory&sprefix=music+theory&ref=nb_sb_ss_ts-doa-p_1_12 The ABRSM "Discovering Music Theory" series is pretty good. Also try "Music Theory for Dummies" for a little more humorous approach! From there, "Music Composition for Dummies" can help you improve (speaking from experience) If any other forum member wants to add to this list, please do! aMC
    2 points
  27. I agree with Coxi in all things he mentioned. I really liked it! Great job, that you could write such an emotional piece while keeping it so simple!
    1 point
  28. Hi, The third movement is in progress, but the first two are finished 🙂 Movt. 1 - https://musescore.com/user/37307285/scores/6796148 Movt. 2 - https://musescore.com/user/37307285/scores/6830305
    1 point
  29. Don't take it seriously. At 2:15 the low notes sound pretty good. At 2:25.., they seem a bit heavy. But it's just a matter of taste, and expression, and probably the way you mixed it. By the way, I'd love to know hoy other people mix classical piano solo. It's not as easy as it seems..-
    1 point
  30. Very mature in form music. The atmosphere reminds me most of the work of Olivier Messiaen. I liked the first two pieces best. Especially the first one. The last one, in my subjective opinion, lacked contrasts. It sounded fast, excited, but the material was rather monotonous for me and almost didn't develop in any way. That is, in your first two musical pictures there were a lot of small interesting details, but in the last one I either did not see, or really did not have enough of what was rich in the previous two pieces. Thank you for sharing your works!
    1 point
  31. A friend of mine and I wrote this.
    1 point
  32. I have started a discord server! The idea is that all members will get the same materials and we will all work through them on a set course and discuss them as we go. This will prevent gaps in knowledge left by not being able to ask questions (if you're a self taught musician like me). Plus it will be easier to get motivated to do the hard work to become a successful composer if you're part of a group. People pay tens of thousands per year for that same experience but we can create it for free! We start our first book on June 1st, 2021, the book is "20th Century Harmony" by Vincent Persichetti. We have decided to read one chapter and do all its exercises in 2 week blocks then move on to the next. If you want to push yourself with us let me know!
    1 point
  33. Pretty good, was pleasant to listen to, unfortunately I'm pretty much a troglodyte when it comes to writting for larger ensembles so I can't give a good critize, even less without sheet. But for what I heard I think you did pretty well with your themes, maybe they sound a little stereotypical of what you will hear in a waltz but somehow you managed to make them sound original, the only criticize I have is that sisincu have multiiple insitruments, you should try to make the repetitions of the main theme a little different each timieee, that ttwill help to keep a simple piece like a waltz pretty insteresting at all times. You can hear something like this in shostakovich waltz no.2 to put an example. Overall good work, keep composing :3.
    1 point
  34. I think it's for any outer voice interval considered dissonant and it's only allowed for inner voice - inner voice intervals as a consonance. So for 4 part writing that would mean a fourth in any of these intervals is bad news: Soprano - Bass Alto - Bass Tenor - Bass Soprano - Alto Soprano - Tenor And only this fourth is allowed as a consonance: Alto - Tenor Don't quote me on that though.
    1 point
  35. I find it to be an effective work. It may seem like a small thing, but I especially like your inclusion of major seventh chords in the chorale segment. I have a particular affinity for that chord, and its appearance in a much simpler harmonic context draws attention to its beauty. I find these extended chords have much less impact when used in a denser, more chromatic work. They get lost in that. I have said in reference to other works posted by composers who are clearly comfortable with their craft that there would be little value in me offering criticism, as there is nothing of a technical nature to criticize. I will echo that sentiment here. Early or not, it's a confident work, and though it is clearly more traditional in its harmonic approach than most of the other works I've heard from you here, I personally find this simpler approach to tonality highly effective - something characteristic of my own work. Thank you for sharing, and keep posting here. I've been remiss in responding to your works, but as you can tell, the views keep building slowly over time. I think a lot of people like what you write a great deal even if they don't say it outright.
    1 point
  36. Thank you, @J.Santos! I'm glad you liked my piece! I used to write more Baroque/Classical style pieces when I was much younger. I might like to make something in a neo-Baroque style sometime, perhaps like a sort of modern retelling of it, but still remaining true to the style. I'll probably continue writing in the romantic style for now, but maybe in the near future I'll feel the need to try it out.
    1 point
  37. Hey, how is everyone doing? Long time since I posted something here. (Also damn, this is my 200th post on this forum!) This time I bring you the result of a pretty interesting art trade I did where I had to compose a piece in a medieval style. Here you have the link: You have a commentary of the piece in the description of the video, and if you have any doubts just leave a comment here. I would appreciate any feedback, I hope you will like it or find it interesting. 🙂 Shares are appreciated too! If you want the final score here you have the link to my upload to Musescore: https://musescore.com/user/31566834/scores/6866952
    1 point
  38. Thanks for answering :3. I decided to use a double bass intead of cello just because I like double bass more, I love it's deep and powerfull sound. Also I have a Double bassist friend and I wanted to include his intrument in one of my pieces.
    1 point
  39. You have a really good ear ... I went back to the Finale file ... and yes it is a B flat and yes Finale did not put in the cautionary accidental # for the D! I really appreciate the feedback and I am glad you found the work enjoyable. I'll post a new PDF.
    1 point
  40. So, I wasn't sure if I should post this in large ensembles or chamber music, but this set for viola and string ensemble is based on a set of vocal pieces for tenor and piano. The piece is in three movements, and let me know what you think!
    1 point
  41. An old piece I tried to update and make less messy (may or may not have worked). Any feedback would be great. Thanks
    1 point
  42. Hi, This Lynmore. I'm a new member of this site. I would like to add myself to this forum discussion.
    1 point
  43. Nice piece. Although it takes so long dealing with almost the same ostinato, it is not boring. But some articulations / dynamics and/or transitions would make it different. The instruments are not ordered in the classy way. You don't need many instruments, so I would delete those staves. I think you must be careful with timpani, some pitches are in the very low end, which sounds muddy, and you have to thing about what a timpanist can do. Perhaps you don't need two timpanist.
    1 point
  44. Hi. I've been here a while, been actively posting since 2018.
    1 point
  45. This is a setting of the Goethe poem Erlkönig that I decided to write after discovering Beethoven's version of the piece. Please be constructive with your feedback, I'm very proud of this piece.
    1 point
  46. I really enjoyed these! They are confident with their musical language, and I felt the production of the video was well done too.
    1 point
  47. 1 point
  48. The first five minutes of this piece is the most moving writing I've ever heard on this forum. I'm not easily impressed, and I've been coming here since the early 2000s. It is sensational writing, and you are a sensational talent.
    1 point
  49. Circular Breathing is done on Oboes.
    1 point
  50. If you have to choose just one movement that is your favorite string quartet movement ever, which would it be? For me it is definitely the pizzicato-laced 2nd movement of Ravels String Quartet in F: Apparently this quartet got a very bad reception the first time it was performed and Faure - who it was dedicated to - hated it. Anyway - what's your favorite of all time?
    1 point
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