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  1. 3 points
    I think i'm finished with this one although unsure about the ending. I wanted to write something a bit faster than I normally would. I don't have the score as Logic is terrible for that. Enjoy and comments welcome as per. Any feedback really is welcome, good or bad.
  2. 3 points
    Hi everyone! I just released my debut piano album on 25th of October, so it´s still very fresh. It contains 10 of my original compositions and 1 re-make of an 80´s pop song which I´ve made on a request of the artist himself. Please take a listen to the full album here and let me know how you like it! If anyone would be interested, you can buy the album here: https://oliverbohovic.bandcamp.com/album/ballerina
  3. 1 point
    Morning. Blue Horzion sounded nice (I'm talking about the sound quality and mixing, well done) the repetitive piano was hard to listen though, at least for me. Could be good for a minute, maybe even a minute and a half, but its almost four minutes. I suggest you change it at some point. It's not your fault that you think of repetitive piano chords when thinking about scifi soundtracks, that's the problem when you let the Hans Zimmers into scifi industry. I also wouldn't define it the Williams way. I guess that scifi music should be... different kinds of ambient sounds, maybe some tonal electronics, not repetitive ones though. Remember that it's only my opinion on the issue, you really don't have to listen to what I say. And overall it's a nice work, my only problem is this piano melody. Lost in Depth is better in my opinion. Had this nice piraty sound and the sounds are great here as well. I wonder what libraries do you use. I think that the name doesn't fit though (the piece sounds more like a nice adventure rather than ships remains in the depths of the ocean), you should think about changing the pieces name. Mirage is definitly the best of them (at least thats what I think). It sounds great like the other ones, and I think it could fit as a soundtrack for something. Why did you do that thing at the end of the piece? it was nice and calm and epic and then you entered these kicks and electronics. I guess you just tried to close the climax. In my opinion it ruined the piece, I don't think there's a place for this kind of things in emotional pieces. Again, it's just my opinion, don't take it too hard. I hope that was helpful.
  4. 1 point
    1. Everything is allowed, you just have to be sure you cite your sources properly. In this case, that means it's nice to print the poem in its original form on the first or last page of the score, to aid a director who wants to print the text in a concert program, and to help the singers see what you are doing to emphasize text, compared to what the original writer did. It may influence how they choose to handle a dynamic to carry that emphasis into their musical performance. All information is good information. Repeating phrases is particularly common when counterpoint might obscure them for the audience, so you've made a good decision to do it here. 2. Voice leading is the way that the chord structure and each note within the chord flows logically into the next, so that the next note "makes sense" for each part. You do it when you write for any group of instruments, but it's particularly important for singers, since so few people have perfect pitch. A violinist or a piano player can put their finger in the right spot and get the correct next note every time (in tune is a separate question), but if you are currently in the key of C major, and singing a G natural, and your next note a Bb for some reason, how do you pluck that out of thin air and sing the right note, without taking two seconds to think about it (and coming in late as a result)? Good voice leading means that the next note is somewhat intuitive. Choir directors do warm-up exercises where they have everyone sing a given note and then point at different voices to ascend or descend by step, or by thirds to change the chord, and at some point, having established the key in this way, they say, "now everyone resolve, ready? Now." And everyone changes note to resolve the chord, without thinking about it too hard, because at that point the steps you have taken so far have set up the expectation of where "resolved" is, and there is only one right answer. The human heart just feels it intuitively. It's what we respond to when we listen to music. You can google "rules of voice leading." You can also set the playback feature in your composition program to mute one voice part, and try singing it while the other parts play back. Anywhere you catch yourself singing a wrong note or just feeling particularly hesitant, your voice leading may be to blame. (You wrote the thing, if you can't sing it correctly on the first try, god help the poor singers in a choir that tries it). This looks pretty good. No part crossings. (Yes, you can have lines cross each other, when that is what makes most intuitive sense for the lines because of patterns you've already established, but you don't want to do it too often). Lots of stepwise motion. (It's pretty easy for someone to find their next note when it just moves up or down the scale). And when you do have someone sing a skip, it's by an interval that's easy to find: perfect fifths. 3. Yes, this is a great effort at setting the text. I can hear the leaves falling and a sense of melancholy at autumn from the beginning piano intro. Nice job!
  5. 1 point
    It is always to hear the music on a real instrument! By the way, the piece sounds like an etude to me.
  6. 1 point
    I tried combining Hans Zimmer's style with Sawano Hiroyuki's for this one. The theme surrounds itself around battling an Efreet (or Ifrit), i.e. an evil spirit. This is, for now, still a work in progress I'm stuck on unfortunately. But please let me know what you guys think of it :) EDIT: It's finished!
  7. 1 point
  8. 1 point
    This is a Christmas carol for SATB chorus, based on William Shakespeare's poem "Song of the Holly"
  9. 1 point
    It's very nice!... Your music is very rich when you write for a string quartet or any other camera set of instruments. Different from your soliloquies, that are also inspiring. I've said it some times, already.... I don't think the shortness of a piece implies it's incomplete. In fact, I prefer listening to the ideas and that's all. But I respect other opinions, of course.
  10. 1 point
    This is my soliloquy for violin No. 30. Here is the link to my Soliloquy for Violin No. 29: https://www.youngcomposers.com/t34240/soliloquy-for-violin-no-29/
  11. 1 point
    Other than what @Music Composer said about the double stop, it's a nice little piece. Loved the interesting use of blues notes.
  12. 1 point
    Yes, I thought about how well the music shows the emotions that are expressed in the text. But that is just a suggestion.
  13. 1 point
    Golems is perfect. Really nice sound that honors the title. Dragoons is fine and I like the guitar intro...but the guitar after the intro felt a bit disconnected but the feeling didn't last. Once it turned around, every felt good again. Victory is fine but it's a little tough to tell if it's a victory theme when it starts. But as it goes on it begins to click so I like it. Good job! Not sure why your friend said it was lame and isn't "real" music, not sure why he would say that but I think what you have here is great.
  14. 1 point
    Golem is great. Dragoon is fine, but a bit disorienting when the first guitar solo comes up. The last segment is a real change of mood, like the player has some time to breathe. Victory sounds exactly like one expects it to sound, with brass and so forth. One doesn’t recognize the reference immediately, but I don’t think that’s a problem. Your friends should be happy to have such a soundtrack composer in their ranks.
  15. 1 point
    I think this fits the scene you've described very well indeed. I like the triumphant feel it provides, it really helps pump you up for that final section (final boss etc.) when you have a piece like this preceding it. Good job!
  16. 1 point
    Listened to Golem. Sounds epic! Great use of percussions! Not much to criticize as it's quite good. Dragoons - Not a fan of the guitar intro, but great work on the second part with the piano. Reminded me of Shoji Meguro's work.
  17. 1 point
    After practicing the piece for some time, I recorded it and posted a rolling score video on YouTube. Here it is:
  18. 1 point
    I've never heard of gothic rock before, so this very interesting to me. Very melancholic indeed. I do think there isn't much variations and so the notes and chords just repeat themselves which van get boring. The rain effect was a nice welcome.
  19. 1 point
    My main instrument is guitar (of course, after my lovely laptop!) and I enjoy when I write for guitar or play others' works on my guitar. Also, I have a deep love to rock and metal music, so tonight, after a long time, I decided to make an instrumental rock track. There's no score unfortunately, but there's a mp3 file available! P.S : As I can't shred well, I did shreds with computer!
  20. 1 point
    My best personal solution for these is probably: sing it to yourself. When you're at work, or on the way to work. or waiting for the program to load XD That way, your subconscious will keep working on that, and in a while you'll come with an idea for more. Other than that... Try to start small with one or two instruments, and add the others step by step. Another idea is drawing yourself a line- when it's high the music is at climax or close to it, and when it's low almost nothing happens, exepct for maybe a quiet bass line. Coming up with the form of the piece will help you develop it. Also, try to think of a story to your piece, it might be helpful. When I do that it really helps me developing idea. I hope that was helpful. I wonder if you noticed that the lines keep getting shorter. ;)
  21. 1 point
    I like it overall, but there are a few twists that make it sound non-Bachian in spots - that - I dont know how to say, inflection, around 3-4 seconds in. Somewhat modern. It's not bad per se to my ear, and if I had written it, I'd like it and be loathe to lose it. But as an outsider, it mars the symmetry, the bland perfection of it in some ways. Basically, the more boring it is, the more normal it sounds. The more interesting it is, the more it sticks out like something you want to hammer flat. If the inflections were more consistent, they would define the piece and sound fine. But as it is, they jar slightly against the perfection of the rest of it (I dont mean lack of mistakes, I mean the way it sounds professional). I'd be proud of it if I were you.
  22. 1 point
    This is wonderful! Do you have a score? With your permission, I'd like to run your piece though some better sound fonts as the midi doesn't do it justice.
  23. 1 point
    Very colourful, lots of interesting contrast and tension, good orchestration: You took your time, and it shows. I am bit surprised about the key the piece is ending, but you manage the finale were well, with lots of final falls that nevertheless do not have the last word. Thank you for sharing!
  24. 1 point
    Yeah, on much of my earliest work.. sounded like an organ player doing strings, flutes, etc. It took a long time to work around that.. Pick out different instruments, and practice with them trying to duplicate them. it takes time to get out of one head space and into another.. See if you can find some good midi files and analyze, the notes and phrasing of different instruments. it will help a lot.
  25. 1 point
    Hello, my news composition for Halloween ! Happy Halloween !!
  26. 1 point
    Catchy! What kind of video game are you thinking of?
  27. 1 point
    DEFINITELY love this version MUCH better. This version is much more intense. The instruments that played when the stormtroopers busted through the door had the hairs on my skin rise. In that part, the music actually made the stormtroopers seem deeply more sinister than what the original made them out to be. I do agree with bkho about the Vader part in that it could've been a bit more intense but it was fine. Honestly, I like this a lot better than the original score. Good stuff man! Edit: Actually, I take back what I said about Vaders introduction. After seeing it a second time, I actually like the way it is! Low string sustain that sounded dark and grim, that perfectly describes Vaders personality. Your version made him feel VERY dark and I love that. But I noticed the longer the sustain the brighter the sound had gotten...which took away from the dark feeling a bit but here it's understandable since it cuts to the Star Wars logo and ends the clip.
  28. 1 point
    Very nice instrumental. Reminds of the 60’s when some pop groups started experimenting with baroque and classical influences. Also, the form feels very organically developed and ends quite naturally. Good work!
  29. 1 point
    So here is my new track, some new inspirations ans some old for this one off, slightly more organic track. Hope you enjoy:) might also be worth noting this may have vocals eventually
  30. 1 point
    I agree with Monarcheon. but I really admire you using alternate tuning, and a bow.. This certainly deserves more exploration.. There have been some guitarists who use different guitar string tunings, (and then have to modify their playing techniques), but it can create something unique.. There was a device in the 60's or 70's called the 'Ebow'.. It was this small thing the guitarist held in their hand (not sure if it was a spinning wheel or what).. But it would give you a bowling technique, great for the guitarist to make these kind of atmospheric pads.. But the bow, never ran out, The string/strings would continuously resonate, as you moved it over the strings. Great avenue to pursue..
  31. 1 point
    The use of -> i - i <- as a phrase builder is tension-diminishing, as it settles from one place, only to grow from a decayed place. I teach that it's like trying to grow plants on a nuclear wasteland. It's very effective in very specific circumstances, but I think it's used too much here. The countermelody in the cello was effective in use, comparatively, but could feel like its own thing more. The section at 2:25 feels like a buildup to a big final section, rather than what it's actually used for which is the big section. This is why the Nolan Batman movie scores are, at times, ineffective.
  32. 1 point
    Very jazzy. I disagree with Willibald, I don't think the first phrase is weak at all, in fact I think it sets up the loop pretty well. Although I would recommend extending it past 21 seconds before you loop. It just gives the crowd more to listen to. Nice work!
  33. 1 point
    I agree with Luis, the piano work is beautiful. I can see a choir singing this. Good job.
  34. 1 point
    Not easy to imagine the voices (as they sound like the piano) but there's beauty in the music. Some modal flavor, too.
  35. 1 point
    Drone music comes from the 50's. Lamonte young wrote good examples: The Second Dream of the High-Tension Line Stepdown Transformer, one of them.
  36. 1 point
    Hi. This is my only piece for groups that are bigger than string quintet, and I think it's almost done. Please give me your feedback so I can improve the piece and fix problems in it. Please don't steal anything from the piece, I worked very hard on this one. Also, if something sounds familiar... I probably didn't mean it. Except for the pattern in the Bass Clarinet at the beggining. Thanks in advance, and sorry for my english mistakes. Btw, I just entered this site through your wiki (was looking for the diffrences between upbow and downbow), if there's anyone that can tell me about this forum... please do.
  37. 1 point
    Holy cow dude...Creating music for a Star Wars scene is already a massive undertaking so congratulations on your patience there! While the music itself wasn't bad, I felt that it could've changed some moments in the scene. Like when the stormtroopers busted through the door I felt like the melody could've changed a bit during that specific time. I mean other than that bravo! I loved it when the brass came in during when the empire ship boarded the rebel ship from beneath.
  38. 1 point
    This is very cool. Great atmosphere. I agree with Saigen that some parts need ostinato, to ground it. But otherwise this is a great job.
  39. 1 point
    Interesting fusion of styles. I'm tired at the moment so I can't really analyze it for correct part writing unless you upload a score. Moving away from the F# and doing a section in C# would be a very baroque move to do, and making the lines ore horizontal should help with the style blend, since it currently leans on the electronic side.
  40. 1 point
    The 3 bar phrase was a cool idea, but I really wish there was more to this. The soprano line could change, and you never change the progression: You could easily tell a story with this, but it just seems like an introductory scene...
  41. 1 point
    You consistently sing a little flat... not a composition thing, but keep that in mind for later. I also think those vocal tracks can be louder... couldn't understand more than a few lines. Going from vii to v is a little awkward, but definitely wasn't a huge problem for me. 2:34 - B˚7 was a cool chord, but coming out of it was a little awkward. The A minor at 3:18 was great too, but going to the artificial tonic (III in a) after it was awkward again? The instrumental section was nice. Some of the solo notes threw me off like the F# chromatic line against Am but it was a nice contrast while keeping the same vibe.
  42. 1 point
    https://www.amazon.com/Classical-Form-Functions-Instrumental-Beethoven/dp/019514399X https://www.amazon.com/Elements-Sonata-Theory-Deformations-Late-Eighteenth-Century/dp/0199773912 Seriously, the people who would do it really well don't have the time to spend on this site.
  43. 1 point
    Oh wow, that was magnificent! Excellent use of the cello...in fact, excellent use of everything! The quality of your vocals were spot on. It all had this trailer-esque amazon feeling like something you would see in Avatar. Good stuff!
  44. 1 point
    What an atmosphere! I'm not hugely into guitar but I'm a real sucker for novelty. Bowed guitar checks that box for me, this was nice!
  45. 1 point
    Hey man. Equalizing is a must for electronic production. It is one of the biggest, if not the biggest aspect of mixing and balancing. It's all about training your ear. The more you do it the more familiar you become with sound; how it resonates, what to look for, how to get rid of disturbances etc etc. It's about experimenting, getting familiar with the hearable Hz's, and knowing how your equalizer works. A proper mix is a mix that can be played loudly without disturbances/edges - but keeping a profound or powerful appearance. It's also about testing your sound on a variety of speakers/headphones etc, for reflective purposes. A good mix reacts well on most sound systems. For a part equalizing is taste. But there are certainly guidelines that everyone follows to get stuff done. I have blogged about the basics of mixing/balancing. If you're new to this all, have a look (it's mainly written for starters). The following episode is about equalizing (I am not aware of any rules against linking on this forum, if so, my apologies): https://typhonicsamples.com/music-production-ep-4-pain-borders-and-sweet-spots/
  46. 1 point
    Hey, You got some nice progressions going on. I do wanna point out that there are a lot of edgy/overly dominant mid-frequencies. Between 200Hz and 1kHz. I think this piece has a lot of potential if it's mixed properly. Especially woodwind & flute type instruments have a tendency to zoom a lot in their raw synth/recorded form so I would strongly recommend to start EQing. The piece has a nice feel so it would be a shame if the mix isn't balanced! peace
  47. 1 point
    Nice tips, all of them saved for the special moment when this happens again. :) I friend just told me a tip that he read somewhere (not sure where) and I want to share it with you. The tip is: analyze sentences and their rhythm, for example: "Drag files here to attach, or choose files" (it could be any random sentence), which would be "drag-files-here / to / a-ttach / or-choose/files" (imagine musical figures of the pronunciation), then use that rhythm to create a melody with it. Not sure if it works, but I found it very interesting, at least it may obligate you to use a rhythm you didnt use before :) Thanks mates for all your tips :)
  48. 1 point
    #1 YOUNG COMPOSERS MAGAZINE Hello fellow composers! Music is enrichment of life. We cannot imagine a life without music. Our passion is music and that is why we decided to start an interesting project: creating a magazine about music related themes. Our goal is to share our love for music. We proudly present the first edition of the Young Composers magazine. You will find various themes in this magazine. From the theoretical discussion of contemporary musical forms to a recipe of a favourite dish by a well-known composer. The magazine is linked with the internet forum Young Composers. All editors are member of this forum and most of us like to compose, professionally or as a hobbyist. Some articles will be therefore linked with the Young Composers forum. Furthermore, the links that are shared in the articles can all be found in a topic in the Young Composers magazine department on the forum. Every cover of the Young Compsosers magazine will have another composer's portrait. This time it is the maestro Johann Sebastian Bach. My admiration for Bach is immense, because his music seems to be timeless. Everybody has at least one Bach composition, which he or she likes. Above: Aria of the Goldberg Variations by Bach (BWV 988). This masterpiece helps me to fall asleep. I have listened to it for more than hundred times now and it never bores me. For me, that is the power of Bach. We hope that we can transmit our passion for music to you and hope to see you on the forum. Enjoy the reading! Maarten Bauer ~Chief-editor COLOPHON I would like to thank everybody of the staff for the incredible dedication. Without you this magazine would not exist! You deserve a very big applause! Once again, thanks a lot! Chief-editor @Maarten Bauer (idem) Editorial staff @luderart - Vahan Luder Artinian Maarten Bauer @Austenite - Robert Beers @Noah Brode (Idem) @johnbucket (Idem) @Luis Hernández (idem) @bkho - Bryan Ho @MusicianXX12 @chopin - Michael Porcaro @Monarcheon - Blaire Ziegenhagel Lay-out Maarten Bauer Noah Brode Michael Porcaro (Chopin) Language check Noah Brode Michael Porcaro (Chopin) LINK TO MAGAZINE https://jil.st/YoungComposersMagazine1 EXTRA INFORMATION Feel free to share your opinions, thoughts and your feedback so that we can grow. When you would like to join the staff, please click on the links below: https://www.youngcomposers.com/t35324/sign-up-young-composers-magazine/ In the attachment you can find all links mentioned in the magazine to make linking much easier. Competition voting: Don't forget to vote on one of the designs! Your vote can make the difference. https://www.youngcomposers.com/t35347/logo-favicon-competition/ Best wishes, The Young Composers Magazine staff
  49. 1 point
    Here's round 2 of me trying to compose. Comments always welcome :)
  50. 1 point
    Hello all, I'm a student at a university in Colorado studying percussion performance. I'm planning on playing an original composition on my senior recital that involves both players(myself and a saxophonist) getting stung by a scorpion on the foot while trying to play. He and I understand the risks of performing such a piece, but I'm concerned that the university could be liable if any freak scorpion accident occurs. Should I go through with performing the piece, and should I take any special action? Thanks! -Da Gmaster
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