Jump to content


Popular Content

Showing content with the highest reputation since 05/05/2020 in all areas

  1. 4 points
    I don't know why more people don't want to do competitions, you're GUARANTEED peer review and a bigger platform to share your music. I'm open to any ideas, I'm thinking solo piano or something similar and simple. Let me know if you're interested and in about a week we'll see who wants to participate and what theme we should use etc. etc. If there are obvious skill differences then we could break it up into groups, but come on people let's get a good group together and see what we all come up with.
  2. 3 points
    IN A DIFFERENT WORLD YC Composer Competition - Summer, 2020 We live in a bit of an unprecedented time and it seems that many of us are, understandably, feeling many emotions ranging from anger to fatigue to even hope. Whatever your reaction, welcome to this summer's competition, where you'll attempt to express it as creatively as possible. I. Topic: Compose a piece that in some way mirrors one's reaction to the 2020 global pandemic and how it may or may not sway or adapt over time into something else. II. Eligibility: 1. You must be a member of the Young Composers forum in order to enter. Sign ups will be in the comments below for JUDGE or ENTRANT. Comment "I'd like to enter as ____" for entry. 2. There will again be no limits regarding instrumentation. There is no minimum length, but there is a maximum length of 15 minutes. 3. You must have some sort of audio rendition accompanying your work. 4. You must present a score of your music for judging. 5. If you volunteer to be a judge, you may not enter as a contest participant. III. Scoring: Scoring will be split into two categories with two "winners" – member voting and traditional judging. Member Voting: Once submissions have been entered, members will get three votes in which to vote on each other's pieces. These votes are tiered, meaning you will vote for your favorite entry, your second favorite entry, and your third favorite entry. The criteria or reasons for your vote need not be explained, though participants are highly encouraged to leave reviews on each other's works regardless. Members will send their first, second, and third choice picks to the facilitator @Noah Brode after the submission deadline. Failure to do so will result in disqualification. Traditional Judging: How well is the central process of the piece executed? How effective is the progression, or in the case of a lack of a linear one, how well is it represented? Most importantly, how internally consistent is the piece in the construction of a narrative? /25 How well is the piece orchestrated? Do instrumental orchestration (range, ability, etc.) and voice leading seem to be appropriate? How effective is the treatment of the ensemble? /20 How clear is the score and audio of the submission? /5 A brief written segment (1-2 sentences) is required to explain the premise of the piece, if any. /0 Entrants whose primary language is not English are encouraged still to participate, as the diction and syntax themselves will not be judged. Judges will not judge the premise itself and will use the explanation to rationalize participant choices. Timeline: Members will submit entries by first submitting their piece to @Noah Brode, both the score and the audio file. SUBMISSION DEADLINE FOR ENTRANTS: AUGUST 14, 11:59 PST JUDGING DEADLINE FOR ENTRANTS: AUGUST 21, 11:59 PST JUDGING DEADLINE FOR JUDGES: AUGUST 28, 11:59 PST
  3. 3 points
    Hello everyone! I've been away from the forum for a couple of weeks, we all know times have been crazy... However, I had finished my Sextet for Winds and Piano some time ago, and wanted to share it here. As always, feedback is extremely appreciated. Thank you for listening 🙂
  4. 3 points
    MOD NOTE: This thread was originally locked with posts removed insofar as they became or led to inciting remarks for further review from me and OP. I will admit that this was a hasty decision and I don’t wish to set a precedent of merely halting conversation upon the first sight of danger, though comments that are primarily inflammatory in nature quickly become irrelevant and are socially unwelcome. I want to be clear that my actions were not intended to silence opinions, but quell the heated argument; in this case, my attempts to make peace overstepped and failed. This thread is now reopened as the previous discussion was good, and while I deeply apologize to those involved that I cannot replicate the removed comments, I do hope the conversation can continue as it was, civilly and thoughtfully.
  5. 2 points
    Been taking the ScoreClub courses during lockdown and I have been trying some of Alain's concepts. Started with this short score: https://www.dropbox.com/s/slp8v1lshrjn9ml/OTL1.pdf?dl=0 Turned it in to this rough mock-up: https://www.dropbox.com/s/hixnckkz8mnyrq9/OTL1.mp3?dl=0 Put it in to Sibelius: https://www.dropbox.com/s/lvhwqm86v79s1b7/OTL - CONCERT SCORE.pdf?dl=0 And here's the Noteperformer: https://www.dropbox.com/s/6kp0licvfo0xt5f/OTL_sib.mp3?dl=0
  6. 2 points
  7. 2 points
    The Lacrimosa for piano quartet was composed in 2019. It was written in reaction to the April 2019 Notre-Dame de Paris fire, an event that shocked me to such an extent that I felt compelled to put my feelings about it into music. The fact that one of the greatest architectural monuments in European history was suddenly getting destroyed was horrifying to me, especially considering that at the time, it was unknown how much of the building would actually survive. This performance is a remote recording - that is, a recording where the musicians involved record each track separately, often times in different locations, as in the case of this recording. The artists are Javier Orman from AirGigs on the violin, JonathanCello from Fiverr on the cello and viola (the latter line played on the cello), and myself at the piano; these musicians were absolutely fantastic to work with. Here are the links to their professional pages: https://www.javierorman.com/ https://www.fiverr.com/jonathancello/... I hope you all enjoy. 🙂
  8. 2 points
    Another prelude in my set of 24 for each key. A very short one this prelude capturing my interpretation with C# Major. short and too the point but beautiful while it lasts. please leave thoughts down below.
  9. 2 points
    There is a bit of both involved in it. It kinda creates a feedback loop. Incoming longpost: I kinda talk about this in my thread on here about the deification of Film/Game composers, and I have had a number of (disappointing) discussions with composers, even very successful ones, IRL and online. On a number of occasions, I have talked with trailer music composers and the like who literally cannot fathom the idea of music not simply being a "product" but something more important than just a tune that fits the latest Marvel trailer. I have had many conversations with musicians who believe that a musician's skill can purely be measured in how many soundcloud or youtube followers you have, unaware of the fact that the most popular music YouTubers are often just hot girls with patreons and modest musical skill. Everyone wants to be an "epic" composer because that's where the money is and having your track in the trailer/game/movie is like this big status booster, because so many people are hooked on these products and even incorporate it into their identity. For example, for years I was a part of another forum called OCReMix, and I have a few remixes that were on their albums and YouTube channels and such — some of them have 10s of thousands of views, I think. Some guy even made a guitar hero play-through of one. While I really liked the community there, the one negative thing I can say is that a lot of people had too much attachment to "video game music" in particular (because they were super attached to video games) and it is my opinion that the site frankly has leveraged that consumerism against the musicians. Like, a few years ago, I remember there was this big blow up when it was found out that the owner of the site monetized all of the thousands of remixes on their YouTube channel (a service they do not pay for) and had intentionally avoided telling the community about that change for 3 whole months and his defense was "nobody noticed." As you might expect, at first, this sent the community into a rage, but the Admin was able to easily dispel by spinning some yarn about how it was going to make the site better and enable them to better realize their "mission" in spreading the love and cheer of video game music (I guess) and that he intended to file for the site to become a non-profit organization. They have since become a non-profit, going about whatever their crusade supposedly stands for, and that means that any excess money not used for "operating costs" (of which they have very little) goes back to furthering that cause. The Admin, who just finished admitting he deceived the entire community, expects you to believe that he does not make any money of this endeavor he's been building for most of his adult life. Now, all of the remixes past and present, which were created for fun by fans and do not generate them money, are pulling in ad revenue not just for OCReMix (via a platform it does not cost them to upload to) but a portion also goes to all of the video game publishers who own the music, and are multi-million or billion dollar, global corporations all while the musicians make nothing. The community is now not just fine with it, but many champion it as something virtuous because they see these games as a part of their very identity as a musician, but in reality — they're just being exploited. Giving once free but now paid advertising to global corporations via music remixes that can never truly be theirs. I once got into a heated argument with the community about why we should place more value on our OWN compositions than on covers of video game tunes. Music which, while certainly has a lot of good stuff, was ultimately made to be attached to something that was meant simply to sell, sell, sell. It is not of the same origin as something like Beethoven or Grieg, and their connection to PEOPLE. The one musician who first brought this whole monetization fiasco to the community's attention, and was a respected member of the community with more posted remixes than anyone for a long time, was quickly turned on by the community and banned for opposing the Admin's decisions. To most of those people, music is at its best when it's a part of a consumer product; consumer products that their fandom of, forms an integral part of who they are as not just musicians, but people. It's sad. When you say "composer" to most modern people, they think of all the mini Hans Zimmers working on the next movie or they think of old guys who make a bunch of weird, abstract art music they don't like and doesn't resonate with them. But when you sit in on say, a really-great Celtic folk music performance: And you just are awestruck by the performances, the catchy and soaring melodies, how well crafted the whole piece is, how everything falls into place so perfectly and both layman and expert alike are inspired by its beauty and genius — it is the same as one feels gazing upon the Neuschwanstein Castle or one of the Japanese castles while the cherry blossoms are in full bloom, at the Chapel in Notre Dame, or standing before a Bernini sculpture or Bryullov painting — even though the name of the composer of the piece may be lost to history, it's beauty endures and it still burns with the unique spirit of the people who created it, and still brings them together and inspires them forever. THAT is what it's supposed to be about — and avant-garde noise and drone music, or meaning/formless splatter paintings, and a cross dumped in urine will never be able to be that kind of positive force.
  10. 2 points
    Hi guys, I'm new to Young Composer's. I just had one of my pieces recently recorded and I posted to Youtube. I'd love for you guys to take a listen. https://www.youtube.com/watch?v=kMBLrWS7mhg&feature=youtu.be I hope everyone is doing well and hanging in there in these times! J
  11. 2 points
    Sort of a Rachmaninoff-ish piece. It's much longer than anything I've written so far, and I sort of feel that the repeated A section at the end gets somewhat boring. Would like some feedback on how to expand this even more. It's usually the transitions that make it hard for me to write longer pieces. Thank you!
  12. 2 points
    I think that's relevant to your bit there. There's a lot of value in freedom, sure, but the whole idea of "we can do anything" is not a very pragmatic one. We can pick and choose from everything, yes, but at the end of the day you need to make choices and discard some things and keep others. Eventually, all those options need to disappear to leave just what actually ends up being done. I think the classic example of this is when people are learning orchestration and arrangement. This is because of the vast amount of options you have when you're doing those things, but it can be really hard to get a grip on what actually "needs to be done," rather than "could be done." Needs in this case being the individual's musical intuition/musical preference/etc. This is also why it's such a classic pedagogic trick to start people off with very strict rulesets for things that in reality have no rules, since it gives you a framework. Some would argue that it kind of shackles your mind to imaginary boundaries and eventually that's a problem, but that's still preferable to an Overchoice induced musical paralysis
  13. 2 points
    This is usually what happens when children are involved. I don't really understand the point of being antagonist towards other people's tastes in music, plus, writing music in different styles and aesthetics is usually a powerful learning tool.
  14. 2 points
    I feel that the questions you are asking are at the very heart of modern classical/ contemporary music. Right out of the gate I will say I find the music of Cage Schoenberg and Webern very unmusical and more academic than actually music, though of course that is just my opinion. I also see those experiments as why composers must go to absurd lengths to justify the choices in their compositions other than "it's what they wanted to write" not they must be inspired by some obscure ancient myth about the world being an egg in some birds stomach or some nonsense like that. I do believe that this has caused music to ascend to the "elite" areas. because most "modern" composers must produce an essay to explain their work other than the fact they had a really cool idea for a symphony. One composer I am glad who does not follow this pattern who I am surprised I have not seen on here is Alma deutscher. she is very unapologetic in her writing. and just writes what she wants. I hope this paves the way for the next generation of composers to truly write pieces for the sake of beauty rather than academia.
  15. 2 points
    It seems we have injected quite a few pregnant terms in this discussion, namely modernism, postmodernism, contemporary, and avant-garde. It also seems we each have slightly different definitions. For me: Modernism is a broadly-encompassing idealogy that developed in the late 1800s and lasted for about a century, characterized by its reliance on reason and logic to expose truth. Postmodernism is a broadly-encompassing idealogy that developed in the late 20th century. It is a reaction to modernism: that is, it seeks to establish that there is no such thing as absolute truth. Everything is relative. Contemporary music merely means music that is created by artists living today. Avant garde music is that which largely departs from the established norms of traditional music. (You know it when you hear it.)
  16. 2 points
    In the end, you have to have an audience. Though my exposure to modern music is admittedly low, I did study music composition at the university level and was generally discouraged by the seeming attitude of modern composers (at least whom I was exposed to) where their style was more as a deliberate attempt to be iconoclastic rather than pushing music to evolve in a more natural way. To me, no one personifies this more than John Cage. When you're considered a great composer and your most famous work is 4'33" of silence, there is something seriously wrong. As another example, during my time in college, a pianist friend of mine was asked to premiere a new work for four hands by the composer in residence at the time. The work was for "prepared piano" so it involved various coins and other objects in the piano and the piece itself was virtually unplayable as written so she and her partner didn't really practice it much at all. They were understandably nervous when then the performance came and they completely mauled it to their admission. So when the composer came up to them after the performance, they were bracing themselves for being chewed out. Instead he commended them for a wonderful performance that was even better than he could have hoped and asked if they would be willing to premiere another piece in progress which they politely declined.
  17. 2 points
    I think it would be beneficial if the competition guidelines/rules somehow stretch each contestant without squelching his/her own artistic voice. A scenario would be nice I feel. Maybe something along the lines of trying to convince a patron to support you financially? Your composition could be your 'interview' (I'm reminded here of Bach and the Brandenburg Concertos.) We could give you a bio sketch of the patron—keeping it as musically neutral as possible so that nobody is forced to compose in a particular style—and see how well you cater to the likes/dislikes of that person. Just an idea. Feel free to shoot it down or modify it as you see fit.
  18. 2 points
    For my Secret Santa entry, I had to describe a world in which all the adults had succumbed to a global pandemic (COVID-19, anyone?), leaving the children alive and alone to fend for themselves and shape the planet they had unwittingly inherited. Though this is a fanciful scenario, psychologically this fear of loss of protection and "parental" guidance is not so farfetched. What would happen if all of that were stripped away? (It invariably is many times throughout our lives.) So that's what this work aims to delve into. I did not intend to get so carried away with this project. I wanted it to be just a few minutes long, with maybe one or two thematic developments... but the creative flame took hold and I'm helpless to resist its overlordish demands. Sigh. So here you have my first attempt at a "traditional" symphony. Not quite as long or extensive (thank God!) but an attempt nonetheless. As is my usual wont, the music is built around the 4th mode of limited transposition—a symmetrical scale whose harmonic progressions depend largely on augmented 4ths/diminished 5ths. Lots of dissonance, tons of quartal harmonies, and perhaps a bit of atonality in places, but I'm not apologizing. The work is extremely tonal—or maybe modal is a better word—it just explores some chords and progressions that aren't very CPP. No score yet... still working on the final two sections, hope to post it and them soon. But I wanted you guys to have something to listen to, since today is the deadline after all. Still working on the score, but the symphony is, by and large, finished. Great topic, definitely fed my creativity! Let me know what could be improved, or what you liked/disliked, as you listen to this. Thanks for bearing with me, and happy listening!
  19. 2 points
    The role of composers is supposed to be, as all the arts were before modernism, to create beauty and cultural affirmation. Today, the main thing composers are seeking to do is be a part of corporate machines and like modern artists — churn out mass-produced junk, that doubles as anti-European propaganda pieces. Unfortunately. Now it's all abstract expressionism and conceptualist nonsense. You just lay on a drone or throw some paint at a canvas, and then try to tell everyone what it "means" with some florid artspeak — it's not even music or a painting (John Cage 4 '33 anyone?) at all, it's just literature meant to dazzle and confuse until the viewer believes that their instinctual disgust is "wrong" and that they just "don't get it". The fact that this is a question shows you how far it has fallen — as in the past, the social purpose of art, music, architecture, dance, etc. was obvious. But we live in an age of the meaningless, the inane, and the ugly. One might turn to the fact that those in the hard sciences no longer see the value of art and the history of how this came to be, for answers. In the past, most men of science we also skilled artists. It was understood that just like knowledge of the sciences, skill in art and music were real things that could be taught. Christopher Wren made important contributions to meterology, astronomy and as an anatomist — yet he is most known as the architect of St. Paul's Cathedral. Though he had many other impressive works of art. In Wren's time, being a skilled architect, architects were expected to have mastery of sculpture as well. Today, they are taught that such sculptures are monuments of an evil, colonial and "oppressive" civilization that must never exist again, and instead, they are taught to build hideous glass towers and gray, Soviet Apartment blocs. Such men either do not exist today, or are extremely rare and left to passion projects. Modern scientists — with science seeking to deal in logic and objectivity — look at art today as something meaningless, largely because that's what it is; void of logic and now devoid of objective standards, opting instead to wallow in "subjective" solipsism where "anything is art" (and therefore nothing is) and so scientists now see little value in it. It depends on how one is defining "new". In the past, new works were ones which hadn't been seen before, but still fit within the established aesthetic framework of tradition. Art Noveau was new. Beethoven was new. The electric guitar was new. Since 1900, most of what is "new" in the arts, however, is that which rejects tradition and standards entirely, because where standards and traditions are to be found, so too will one find a hierarchy, and if there is a hierarchy, there is discrimination — but without such discrimination, good from bad cannot be differentiated and improvement or quality cannot exist. Do people still want new and interesting pieces to listen to? Yeah, but they also want those pieces to be good. I'm sort of repeating myself here, but it's necessary. Much contemporary music is just to serve as or aid the sale of a product. Think of all the assembly-line pop music that plays in the shopping malls. Much like with Kandinsky, Picasso, or Shoenberg's avant-garde noise music, it's all about churning out product as fast as you can, getting youtube subscribers, getting it in the next vapid Marvel movie trailer, slaving 12+ hours a day in Hans Zimmer's music factory, etc. so you can (hopefully) fill your coffers. Obviously, there is good pop music, there are still great composers for the orchestra and folk bands, but much like painters, sculptors, architects, etc. who are still good — whose works are the result of real mastery over their respective crafts — are usually banished by the elite into the realm of hobbyists. That's my answers to your questions. Hope it helps
  20. 2 points
    To me these questions are among philosophical questions for which I can’t find an answer. The same could be asked about fiction, poetry, dance, contemporary film, spectator sports - perhaps even fine art. Basically there’s a human need to self-express or to exercise the imagination – part of a need to assert individuality maybe? Or there was. Film has stolen many people’s ability to visualise and imagine. For those lacking the creative spirit they’ll be entertained - perhaps a result of society constraining people’s lives so it helps take their minds off how vacuous their lives really are: work, rest, eat, sleep, etc. Does contemporary music have purpose? Do these empty lives have purpose? Culture or not, it’s to do with money. My text book “Bluff your way in Music” states very early, “music has long been officially recognised and installed as an Art. And anything that is an art is no longer a simple pleasure. Arts are a by-product of that general symptom of human decline called civilisation. Enjoyable pastimes become arts once money is involved.” Nice piece of cynicism, that – but like all such, it raises an unfortunate truth. So I suppose contemporary music is an enjoyable pastime. It has its following albeit a minor one. It enjoyed a burst of activity (maybe even fashion) during the 20th century – probably from around Schonberg until approx 1980 then reverted to minor interest. It was never a money-spinner, in Europe supported mostly by national broadcasters and philanthropists who financed specialised festivals. Its basic problem is semiotic or linguistic which is why it never reaches mainstream. It survives in academia because universities make it a money-spinner. People take degree courses believing they can learn to compose and these days it’s about contemporary sound organisation to make it seem at the cutting edge. Some graddies go on to compose but usually support themselves in a different trade/profession. Some just don’t bother. And some, like myself, react against the creative immorality – that creativity can be taught at all and try to find their own way to an enjoyable pastime. So…as it lives on donation, it’s only marginally relevant to whatever we assume our culture to be.
  21. 2 points
    Here my new piece for SATB and Organ. I love singing and religious music, so I decided to write that. Hopelly I can perform it life one day 🙂 Lyrics are not mine, it's and old christian song dedicated to the Virgin Mary, that many composers from the renaissance and later on used in their works. Orlandus Lassus, Palestrina, Michael and Joseph Haydn among many others have compositions on that lyrics. The structure is AB (x2) - C (x2) A and B are 8bar phases with a half cadence in the middle and a perfect cadence at the end. C is a non-regular 7bar phrase ending with a perfect cadence. Here the lyrics with translation: I appreciate your comments. --------------------------------------------------------------------------------------------------------------------- Ave, Regina caelorum, Ave, Domina Angelorum: Salve, radix, salve, porta Ex qua mundo lux est orta: Gaude, Virgo gloriosa, Super omnes speciosa, Vale, o valde decora, Et pro nobis Christum exora. Hail, O Queen of Heaven. Hail, O Lady of Angels Hail! thou root, hail! thou gate From whom unto the world a light has arisen: Rejoice, O glorious Virgin, Lovely beyond all others, Farewell, most beautiful maiden, And pray for us to Christ.
  22. 2 points
    The harmony could do with some slight variation. But the melody, it has enough variation that despite the repetition, the melody itself doesn't feel too repetitive. As for varying the harmony, that could be anything from adding chords in between the chords of your loop(Em -> C -> G -> Am is your loop, right?) to adding extensions like sevenths and ninths to some of the chords.
  23. 2 points
    Hello, Here is a sound file (computer generated) of my first piano sonata (in D-minor). I wrote most of it many years ago, but now I had some spare time to review and improve it. The piece consists of three movements, in a classical style. Unfortunately I cannot provide you with the score for the moment (there are still a number of issues), but in any case, I would be grateful if you could listen to it and provide me with your opinion. Best regards.
  24. 2 points
    Hello fellow composers, I hope you're well during these hard times. I composed yesterday the "2nd impromptu" of my set of small piano compositions. I explore in it new textures and new harmonies. I planned to record it soon! Meanwhile, here the video of the computer recording with the score. Hope you'll enjoy 🙂
  25. 2 points
    I hear it, too @Left Unexplained. It's the bit right after 0:38. @Ivan1791, I don't think it's the exact song but the chord progessions are the same. Plus the midi rendering sounds an awful lot like the songs in the games. Edit: This is not a criticism. I found it interesting is all. I think your symphony sounds just lovely!
  26. 2 points
    There is no ''wikihow'' answer to this question... It is a quest that composers are following their whole life. For structure, there are so many parameters that it could help you to organise/list them and analyse pieces that you like for their form. Perhaps the most difficult issue about form is that it can be perceived differently according to the person listening.
  27. 2 points
    Hi, Here a Waltz I wrote last week. Because of the mood I named just Spring Waltz. It's written for a late classical period orchestra: 1Piccolo, 2Flutes, 2Oboes, 2Bb Clarinets, 2Bassoons, 4Horns & Strings. I added also Glockenspiel and Vibraphone, because I like its percussive effect when doubling the winds. I think the style is also of the period. I appreciate your feedback.
  28. 2 points
    Seaside Dreaming Master.mp3 Hi guys I'm new to this site and I would appreciate feedback on this piece I've composed. Thanks.
  29. 2 points
    I hope you all are doing well this days! Here I share a little scherzo of a little symphony I'm writing to practice. The scherzo is based in some fragmented themes my little sister was tackling on the piano (that is why she is mentioned in the score!) I hpe you enjoy it and as always I'm open for feedback and things to improve. I know that the structure of the scherzo it is not completly correct as in the scherzo part I do not repeat the A section and then the B section. Aswell istead of a trio there is some sort of funeral music (to give some contrast).
  30. 1 point
    It's a very introspective work, just like the title suggests. I'm not a clarinetist so I can't comment on the technical stuff, but it sounds playable. It would be beneficial to include the score. Overall, great job!
  31. 1 point
    Great piece. Good variation in the left hand (you know I'm obsessed with that...). The piece flows very well. I don't think the first part should be discarded. It's a good contrast. Perhaps a little part could be improved: the transition (measures 17 - 20). Transition between two parts can take lots of work if those are very different. This video by @Jean Szulc (great work) is very good and talks about this problem and some tools to resolve it. @J.Santos Me parece una pieza muy muy buena y que encaja totalmente en el período ese clásico-romántico primero. Los cambios armónicos son muy bonitos. Saludos.
  32. 1 point
    Thanks for the reply! also I appreciate you've noticed how I'm improving.moving through various tonalities is an area where I do need to improve on. Generally these preludes are more of an exercise for myself for working in each key and determining my feel towards them. as such I'm writing them very quickly and just writing what come to my head. when I go over them and improve them It will be as a set rather than individually. Of course thank you for the feedback!
  33. 1 point
    This is a very exciting prelude, and I think it displays well your growing prowess in meandering through neighboring tonalities. In particular, I enjoyed those cadential dim7 chords at m.3, for instance... made the piece sound extra 'stormy.' There were a couple of places that lacked a convincing cadence, though, at least to my ears. At m.9, that descending run through a C harmonic minor scale atop a block C minor chord was too musically abrupt. While this may have been intentional to add to the character of the piece, it came across, to me, as a mistake. You could probably continue the stepwise pattern down from the previous measure (which ends in a tremoloed G in the bass) to F then Eb then D, and this will, I think, provide a better cadential feel than the immediate switch back to the tonic. (You'll need to adjust your notes in the treble clef, too, of course.) Measures 13-20 proceeded too quickly through various tonalities for my tastes. I would suggest either doubling the amount of time spent in each tonality (Eb in m. 14, for instance) or getting rid of some of those chord progressions altogether. Nothing about this section felt 'wrong,' however. It just seemed to be a quick departure into major tonalities for the sake of departing into major tonalities. Overall, though, you've done a great job here. I look forward to hearing more of your stuff!
  34. 1 point
    I like the evolution that the end before the final little flourish at the end where it is sort of prelude like. You are very much selling yourself short. I would certainly call this a fugue as at least to my ears there is development of the ideas and how they move around. and this has a brilliant and very clear use of the initial theme in the bass, which I love. it seems with each fugue you write I enjoy them more and more! honestly other than general impressions on the music I am not a good enough contrapuntist in order to actively critique this piece.I enjoy it very much though of course. best of luck in overcoming the block. If it is to do with quarantine I recommend going just on a short walk through a nearby woods or something. if possible of course.
  35. 1 point
    I thank both of you for your criticism. It's really nice to see my "pieces" are seen as worth improving by others. In regards to Bradley Scarff's comment, the only thing I would say to "disagree" of sorts has to do with the fact that the fugue is virtually played by a machine, a soundfont engine, not a human. Which I think is partly the reason why it's difficult to distinguish individual voices to a great extent. Albeit that much syncopation in the alto voice perhaps wasn't so good in the end though. Also, the octave B's were intended to be a pedal note, and putting them in the bass wasn't any particular decision (even though I think I'm a bit biased towards unconsciously putting them in the bass). As for the parallels and voice crossing, to some extent I noticed them (at least the voice crossing, when the subject lies in the bass which is when it gets most noticeable), but I refused to change them due to the fact that they would ruin the countersubject and dissipate the harmony of the exposition. By the way, I'm not sure if those are the only parallels. Don't get me wrong, I'm not asking anyone to get to counting each parallel this fugue might have, I assume that would be just unbearable. Just wanted to know if Monarcheon just noticed those in the exposition or perhaps they might be all over the piece but counting them is thus not worth it. Thank both of you for your kind comments and appreciated criticism.
  36. 1 point
    SUMMARY: For those of you trying to follow along with this thread but hesitant to jump in with your opinions, I thought perhaps a summary post might encourage participation from those who haven't yet chimed in. The original question was exploring the role of contemporary (modern) classical music in our society. By necessary extension, this has expanded to mean art in general. At this point in the thread, the major theme appears to be that of modern vs. traditional standards of art. Traditionally, all artwork was held to a societal standard; if a piece didn't meet such standards, it was disregarded as subpar or ugly or shocking—in other words, as non-art. However, the modern view is that art has no objective standards—beauty is in the eye of the beholder—and any artwork that exemplifies this mindset is considered "good" or "acceptable" art. This has led, for example, to the classification of such pieces as menstrual blood paintings and jars of human excrement as actual works of art. It isn't difficult to translate these effects into the realm of music. So, what does everyone think about avant garde music? Is it real music? Is it true artwork? And, ultimately, what is its role in society?
  37. 1 point
    @Tónskáld, I've been pretty hesitant on participating/reacting to/modding this thread, so thank you for attempting to define common terms. Socrates and Plato would be proud.
  38. 1 point
    Again, I find it really good but as well there is a lot of space for developing the ideas (and personally I think is a good thing). In the middle there is a strange dark chord progression (1:32) that I do not dislike it, the other way around I find that it contributes well to the character of the piece. If you could provide the score it would be easier for other people to give feedback (as most people in this forum prefere reviewing pieces wich provide a score) . In general a very beautiful piece.
  39. 1 point
    I need to somehow kick myself back into composing regularly and past competitions have inspired me to write some of my better works so I'm definitely game.
  40. 1 point
    MoveEleven, I read your edited comment and just listened to the Borodin piece. What a beautiful work! Thanks for pointing me to it.Yeah, I can hear that descending progression. Nothing new under the sun, right? I would bet you anything that John Williams was listening to that piece when he composed the score for “E.T. the Extra-Terrestrial” what-do-ya bet! There are subtle little E.T. melodic phrases later in the piece. Like I said; nothing new under the sun. McCartney said he and Lennon used to swipe bits from others all the time. And I’m sure you are familiar with the hauntingly beautiful Eric Carmen song “All By Myself”. I think Rachmaninoff would have loved the melody that Carmen sang over his beautifully melancholic chord progression. I don’t know about you, but I’m a sucker for melancholic tunes (when done tastefully). Don’t get me wrong, not everything is pinched, but it’s fun to find stuff that is whether it was conscious or unconscious. All these guys were fiercely original but every now and then they’d stumble into someone else’s ideas and change things up just enough to not make it obvious. I’m not sure but I think Eric Carmen credited Rachmaninoff in that song... how could he not as it was so obvious. You and I have very similar tastes in composers. I too love Brian Wilson and Burt Bacharach! Ahhh sweet melody! It’s like the seasoning on a nutritious plate of an otherwise bland helping of tasteless grub.
  41. 1 point
    A new tune I composed inspired by "New Age" composers like Yanni, whose music I've long admired. Let me know what you think! Thanks.
  42. 1 point
    Hello! This is a suite of seven miniatures for string quartet inspired by the illustrations of the Major Arcana of the Rider-Waite tarot card deck, first published in 1910. I don't personally believe in fortune-telling (though there's no judgment from me if you do), but the illustrations in this deck of cards are simply gorgeous. There are 22 Major Arcana in all, from Number 0 (The Fool) to Number 21 (The World), so I decided to split up the work into three volumes. The Fool (No. 0) will make an appearance as the introduction for each volume, since this card typically is used to represent the person receiving a tarot card reading. This first volume is roughly 10 minutes long, in 7 movements of various lengths. Form and harmony are in a looser style than I'm normally accustomed to writing in. I tried to write in a style that could be considered 'timeless', if that makes sense. This is a first draft; there may be errors in the score. Any and all feedback is welcome. The MP3 and score were produced with MuseScore 3. Thanks for listening!
  43. 1 point
    Maybe set it aside for a month or two. Get on with new pieces then when you revisit this you'll probably make a few changes. It's a way of "standing back" to see/hear the work through fresh ears. We could all pick holes in the scoring but such crits relate to our own styles. You are your style in development and it's up to you to develop an ear for how well a work meets your aims. Developing a self-critical ear is vital so you can experiment. Even small nuances, an adjustment to a dynamic, a slight increase in a sustained note can make a big difference. (quote)Well, there are a ton. You can compare it with the revised version, but it is sucks. (The oboe sounds really bad and the woodwinds aren't loud enough for some reason.(end quote) And here, you see, you're wrestling with software, not the music. If you were working in a daw midi editor with a good sample library you'd have precise control over every note. You have to control not just what note is played but HOW it is played. Presumably you aren't in a position to change that immediately so we have to try to hear through the software limitations. Using a daw should definitely be on your horizon, though. It's obviously worth considering all technical comments here - you can take them on; disregard them; or see if they give you ideas for things even better. Don't be afraid to experiment until you get the sound you want. Get the harmony put right if you think someone has spotted an error. But no, it does NOT suck. It's a great effort and a worthy realisation. The harmony progresses smoothly. The development is thoroughly engaging; the tunes are good and stylistically consistent. It may need revision - a little touch up here and there but give it time to brew up! It's a success....Very few people here can put together a formal work of this length let alone early in their development. You'll always be fighting your software....the solo entries weakened by being too quiet against the accompaniment; reiterated notes that barely sound separated (particularly in the strings where they'd be light and distinguishable played spiccato by live players). Some very good stuff has been buried by the software itself. Whether you can get around this or not, I can't know. But you definitely have the potential to justify investment in a decent daw and sample libraries. They may seem expensive but you'll be set forever! This piece would be note-wise the same but sound very different put through a daw. .
  44. 1 point
    It's delightful and it flows quite well.
  45. 1 point
    Bach would give a like
  46. 1 point
  47. 1 point
    I'm going to post all my piano compositions in chronological order. Numbers 7, 8, 11, 13 and 15 are the best ones in my opinion. 1.-Compositions from youth. (I wouldn't even call this music) 2.-Random piano piece. (Modern I guess) 3.-Variations on a theme (Second piece I show in the video)(Classical) 4.-Katyusha (Variations)(Romantic/Virtuoso) 5.-Musical experiment. (Modern) 6.-Portrait of a dahlia. (Modern) 7.-Memories. (Romantic with jazz) 8.-Invention in D minor. (Canon)(Baroque) 9.-Crab canon. (Modern) 10.-Videogame experiment. (Modern) 11.-Feline Night (Jazz) 12.-Chromatic practice. (Experiment)(Modern) 13.-Elegía moderna. (Modern) 14.-Consonantn't vals. (Experimental/mixture) 15.-Portrait of a deaf man. (Modern/Romantic) If you liked or you have some advice please leave a coment. If I see people show interest I will post my other works.
  48. 1 point
  49. 1 point
    That's indeed a nice dreamy pieces, but it feel a bit strange that you finish in a different key you started with. You start in EM and you finisch in DM, right? Why?
  • Create New...