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  1. Here my new classic rondo in ABACABA' form. A has more a melody and accopaniment texture, while B and C have more counterpoint texture with some rythm and interval interplay violin-cello. Hope you enjoy it. Any comments are more than wellcome.
    7 points
  2. Good evening everyone! I'm excited to present a new piece I have been working on for the last month or so: Scherzo for Orchestra. I deliberately wrote this fairly quickly, with the intent to write something fun, conventional, and maybe even a little whimsical. I'm interested in any and all constructive feedback. I had a few goals in mind as I composed this, feel free to critique my success or failure on these: Write something a little more informal and accessible, with catchy, memorable themes. Start with a very simple idea, and build the entire piece off of it. The four bar
    7 points
  3. METAMORPHOSIS YC Composer Competition - Autumn, 2020 I. Topic: All entrants must compose a unique piece that is based on the same melody. The fragment chosen by member vote is: Takashi Yoshimatsu, "Waltz of Rainbow Colored Roses" - https://youtu.be/3qihgGETXwc ***To be clear, entrants do not have to use the whole piece as the basis for their compositions, only the short fragment identified in the member voting post and now attached to this post. *** While a traditional "theme and variations" form is not required, judges will be looking for effective treatment and de
    4 points
  4. Fantasia i g minor. Fantasia for organ in the key of g minor. Multiple subjects and fugesubjects. Ps: The piece has not been editet yet, so there are som mistenkes. Both intentional and unintentional 🙂 Please tell me what you think SimenN
    4 points
  5. Hello everyone! This is a courante in C major for solo cello. it is supposed to go together with the allemande I composed last month since I am trying to composer a whole suite. It is in [:A:][:B:] binary form and 3/4 time. The first part is 16 measures long and modulates from the tonic, Cmaj, to the dominant Gmaj. Part B is 18 measures long and modulates once: Cmaj --> Dm --> Cmaj. Any feedback, suggestion or comment is appreciated! Hope you enjoy it and thanks for listening!
    3 points
  6. Thanks for your guy's help on this.
    3 points
  7. Indeed, Luis! "Brass... also reproduce choral writing better than woodwind; in much early music, brass, especially trombones, simply double the voices."
    3 points
  8. Possibly, but I was thinking it could be a bit more open-ended than a strict theme-and-variations piece (which we did as a competition theme a few years ago, except in that one, everyone chose their own theme). Like composers could feel free to add themes of their own to the music, and use the provided melody / fragment as a starting point. @Ivan1791 also mentioned a competition based on the seasons. I can add that topic to the list, if there are no objections. I'm also with you on the question of the ensemble. I don't think it is a great idea in general to put specific restrict
    3 points
  9. I like this idea of a more "absolute" music theme. Maybe restrict the overall form of the piece (sonata, rondo, etc.). Another idea is to have an orchestration challenge. Start with a piano reduction or something that's in only a few staves, and have the competition be to expand to a larger ensemble. The instrumentation could be either defined, or up to the contestants.
    3 points
  10. The opening brass chorale/fanfare is riveting: dark, brooding, moody. The piano entrance is a wonderful contrast, almost Mozart-like in its lightness and brilliance. I even noticed some counterpoint around the 2:00 mark. Overall, you bring nice-sounding melodies and functional harmonies together. Not in a way that hasn't been done before, but pleasant, nonetheless. However, there is a lack of cohesiveness that makes the piece sound through-composed or, as you put it, improvised. The piece needs a bit more structure. I wonder what would happen if you picked two or three main themes and wor
    2 points
  11. I would like to enter as an entrant.
    2 points
  12. I would like to enter as an entrant.
    2 points
  13. Oh, cool! Another competition! I'll be happy to judge again.
    2 points
  14. Hi Joshua, see my note to Quinn just above. Sorry for the confusion.
    2 points
  15. 2 points
  16. "Takashi Yoshimatsu, "Waltz of Rainbow Colored Roses" " Oh God-d-d. It's in a key by the look of that b-shaped thing immediately after the clef.......I presume if one enters, one need take no notice of that and doesn't have to follow the harmonic pattern. Edit: Crikey, it's LONG. Entrants have to do a make-over of the whole thing? It'll take a day copying it into the daw.
    2 points
  17. Hi, could I ask it I could use only a shortened version of the piece as a theme for a theme and variations? Or do I need to quote the piece in full if I were to use that form?
    2 points
  18. I would like to enter as an entrant!
    2 points
  19. 2 points
  20. I would like to enter as a participant. I'm very much looking forward to this.
    2 points
  21. I really enjoyed this piece, it deserves to be performed although your midi device has excellent strings. I think the time you spent on articulation paid off, it sounds really authentic of the period. If this had a big name on the manuscript I wouldn't have questioned it. I particularly liked the effect created by the simple descending quaver repeats of the cello. The counterpoint is spot on, its beautiful and the last bar is a delight. Overall it captures the elegance of the classical period, well done!
    2 points
  22. m. 7's Gr+6 and dominant harmony hybrid is a little off to me because of the minor ninth.
    2 points
  23. Hi everyone! Here I post a short prelude (Well I do not know if to call it a prelude as it is rather experimentation). I've started the piece with the idea to write a fugue of a single note melody, but at it only for a short bit as affter I did not whant to continue. The piece is for two pianos (Is not really a piece as It is something I would never like to publish or perform). And basically I tryed to experiment with rythm and with inspiration of some minimalist works. I hope you enjoy. 🙂
    2 points
  24. Fantasia in g minor for strings: Fantasia in g minor originally scored for organ manualiter. I have arranged it for strings (playback is woodwind quartet). The second fugue is a bit longer then in the organ version and some mistakes have been edited. Ms: 1. Fantasia theme Ms: 7. Free counterpoint Ms: 52 First fugue theme. Ms: 91 Second fugue theme. Ms 130 Fantasia theme Ms 138. Free counterpoint. Please tell me what you think.
    2 points
  25. I just finished working on this recently: Score: https://drive.google.com/file/d/1f7vpxEZ1YFRJjPOWcp5Wsv2FRrrKZCKa/
    2 points
  26. Hi everyone, please review the following list of pieces / melodies and select the one you'd most like to use as the shared theme for the Fall 2020 Competition. Please listen to the pieces and review the PDF document before making your decision. Once the winning theme is decided, I will post it along with the competition rules and signups. 1. Florence Price, "My Dream" - https://youtu.be/lLbhy03VgXE?t=3 2. Takashi Yoshimatsu, "Waltz of Rainbow Colored Roses" - https://youtu.be/3qihgGETXwc 3. Alfred Schnittke, "Concerto Grosso No. 1, Waltz" - https://youtu.be/yaaRk0c-780?t=1284
    2 points
  27. Hello all, what a wonderful year its been lol. I think this year's holidays are vital to people's sense of community and family, even though it will only be those closest to you. But Christmas is also about imagination, coming up with vivid stories and legends. This holiday event, I was thinking everyone could take a christmas story (or, much cooler, come up with an original one) and make a song about it. You could even take the music from a famous holiday movie and rearrange it and make it your own. Could be some very cool ways to reharmonize rudolph or frosty the snowman for example. No musi
    2 points
  28. Here a short piece I wrote for SATB choir, brass, timpani and organ. Sorry, I couldn't find lyrics for that and a more original tittle 😅 Any ideas for the lyrics are wellcome.
    2 points
  29. If I have any way of improving this please tell me. And if you have any advice I would love to hear.
    2 points
  30. I'll echo what @Quinn said: I don't think you need to indicate every last up and down bow, unless that is the specific bowing you want. The players are perfectly capable of figuring out what bowings are the most musical for them. I think the ricochet can be notated with a slur over staccato notes, as in this link here.
    2 points
  31. Well, I'm no Paganini so there's Little I can say. What tempo is it to be played at - and if your slurs are phrasing or bowing slurs - like the last beat of bar 1, semiquavers 1 and 2 need the down and up bow marks changing if the slur is grouping the notes under one bow-stroke. Or the up bow sign needs removing altogether. I'd have marked the bowing with the down bow on the first beat, up bow on the second beat, down bow on the third beat down to the g of the fourth beat and the rest on an up stroke so the player is ready for another up on the chord in bar 2. Bar 2, I'd leave
    2 points
  32. May I humbly invite you give a little listen to the newly released 3rd and final movement of my Sonata in Bb, heavily influenced by Ludwig! Hope you enjoy https://www.youtube.com/watch?v=_EgSdlAk5Z8 Thankyou!
    2 points
  33. Attached is the third movement of my piano trio. (yes completed before the second) I'm quite pleased as I wrote it very quickly for my standards. It's in minuet and trio form and is very short. please leave any thoughts down below.
    2 points
  34. Hey all Here's a simple thing I cooked up, not sure what to do with it. My first reaction is to have what I'm showing be the end little solo, and proceeding that I would have a more song oriented structure. I'm thinking like the studio version of Little Wing by Hendrix or like Freebird by Skynyrd. Both have a song format with a solo after. I'm shooting for under 4 minutes, any thoughts?
    2 points
  35. A blues-rock tune I composed inspired by classic bands like ZZTop as well as 70s/80s American car chase movies. Let me know what you think! A friend of mine from a local metal band recorded the electric guitar parts.
    2 points
  36. You shouldn't give up on music composition. Why would you if it's who you are? Are you giving up on yourself? Who cares how much knowledge someone else has, there will always be someone who knows more than you about music. That in no way should deter you from really living if you have found who you are as a person. When I made the decision for music to be my career, my dad was pretty disappointed. He didn't talk to me for a while, and when he finally did, he only told me that artists will suffer. I knew he was right, and I knew he said that because I excelled in school and could have chos
    2 points
  37. I personally would go with any of them except for the orchestration option which is really more of an pedantic exercise than a creative one.
    2 points
  38. I will say that I think the orchestration idea may be better suited to the "Challenges" section of the site, rather than being the theme of a seasonal competition, since it's less subjective and more technical than pure original composition of new music. Like folks could just post pieces they think would be fun to orchestrate in the "Challenges" section and have people submit their efforts in the thread. Just my take on that, though
    2 points
  39. Thank you both for such wonderful feedback . I really like your idea of picking nice themes and bringing them back . My daughter is quiet young , but not too young to heed the very good advice from both of you . Its a good idea to keep tweaking until a very nice piece. As it stands its a 1 take piece in logic and a bit soupy. 🙂
    1 point
  40. A nice Chopinesque piece. At around the 1 minute mark I get a little confused harmonically (listening on headphones - it's too quiet to hear on my speakers). As far as writing in a Chopinesque style - it's easy to do (as your piece demonstrates) but difficult to do well. I guess you wanted your melody to have that floaty feel - you ended up writing some unusual 5 bar and 10 bar phrases in many places. You should be careful with that because you border on aimlessness. You also spend a little too much time on that C an octave above middle C for my taste. Your piece is missing some of those
    1 point
  41. Most chorale type compositions put the melody as the soprano voice. But what I'm talking about is not as in putting chords to a melody, but harmonizing the melody line itself. Like a guitar lead in thirds or something. Example Don't like Jazz or Adam Neely, but he illustrates the concept here
    1 point
  42. Thank's @PaperComposer, You are right, I added brass to give more power and resonance. I like to combination of choir, brass, organ and timpani and I think it fits pretty well with the character.
    1 point
  43. Keep at it, you definitely have talent. However, it is very difficult to make a living purely as a composer and success is only measured partly in terms of talent; luck and connections also play a big role. But, certainly, you have enough to at least get your foot in the door, in my humble opinion. I would also advise you post your works in the respective forum categories, you'll likely get more feedback.
    1 point
  44. Thanks! I try to keep things diverse, although repetition is seeming better and better to me the deeper I get into composing. I'm currently expanding the celesta section!
    1 point
  45. Are you tired of sonata form, or whatever? Write something in some contemporary form: mosaic, rhythmic cages, golden ratio, pi number or other irrational number, graphic score, indeterminacy, prolatio...
    1 point
  46. Thank you for your reviews Sojar and Maarten Bauer. We have had that discussion many times before, and I wil try to explan again. I do write in a style/idom yes, and the goal is to sound as it would have been written in the 17th century. I write in the school of Corelli (wich is something is called now, back in the baroque Corelli harmonic and meldoic langauge was typical for the style, though he did countinue to develop the concerto grosso form, as Stradella had started). Corellis iitalian comtemporarys sound very much alike him, i doubt anyone how does not know hes music well could hear if i
    1 point
  47. Hi everyone This is an impressionist influenced piece I composed 3 years ago or so and I'd be interested to know what you think! Cheers
    1 point
  48. Here is my new piece, a Piano Chamberto (Chamber concerto), for Piano, Oboe, Clarinet, Horn and Bassoon. This has been a long project, my most ambitious piece to-date in terms of complexity - I'm really glad to have finished it at last! 🙂 The goal was to use a format similar to Classical-era Piano concertos, but with a reduced set of instruments. Please let me know what you think! Dan
    1 point
  49. Bring your bass guitar out more! AWESOME piece of music
    1 point
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