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Showing content with the highest reputation since 12/25/2019 in all areas

  1. 2 points
    This is a piece I recently submitted to a youth symphony orchestra competition. It is supposed to be geared towards a grade 3 level. Let me know if you would make any revisions or changes!
  2. 2 points
    Hello! I composed a cycle of three ponteios, which are the Brasilian version of a prelude. They are all in hommage to Camargo Guarnieri, along with my video about his life. Well, I won't say much about them, but I have thought them through quite well, so if you are interested in knowing more about what's behind each of them, feel free to ask! Feedback is always apreciated, good or bad. Thank you for listening, Cheers!
  3. 2 points
    I am really, really pleased about how this piece turned out. It's difficult, but super fun to play. It's gonna be the third and llast movement of a Fruit Sonata (Durian, Buddha Hand, Dragon Fruit). I have published Durian here before, and I have not composed Buddha Hand yet. This is just a quick recording I have done tonight, I will do a better one with video soon 🙂 Let me know all your thoughts!
  4. 2 points
    Hi guys. Here's a little ditty that's been nagging me for some time, I intend to integrate it into a larger piano/orchestral work later (Rhapsody 2). Hope it makes you smile. Cheers, Mike.
  5. 2 points
    Here is a little impromptu I wrote a few weeks ago. What do you think ?
  6. 2 points
    Very nice textures, and the harmonies sound very apropriate and well used. The playing is very impressive. Also, it's impossible not to like something called "Dragon Fruit Toccata"
  7. 2 points
    Winter is such a beautiful season. I composed a piece inspired by it for a trio. Not your typical trio though. Rather, I composed it for flute, violin, and piano. I think these instruments best fit winter, since the flute provides a mellow quality, the violin provides fullness, and the piano, well it sounds good with just about every existing instrument. My piece represents the joy that winter brings. I might later expand on this piece, but right now, it is a dance piece for a trio inspired by winter. I started thinking about this piece about a week ago when I saw snow falling. Because it represents the joy of winter, I decided to write it in E major, one of the most joyful major keys. There is a short C minor moment in there but very quickly a Picardy Third resolves the tension of the C minor into the relaxation of C major. There are a few passages for the flute that essentially amount to a measured cadenza(virtuosic like a cadenza, but with specific note values). When the key signature changes to 1 sharp, what proceeds essentially amounts to a development section primarily based on the B section(the section with the pizzicato). Right before it changes back to 4 sharps, I do a sudden modulation from C major to E major. The coda is short but provides finality to the piece that I don't think would have existed had I just straight up ended with the last measure of the A section. There are a few moments where only 1 or 2 instruments are playing, but for the most part, the whole trio is playing. What do you think of my winter piece?
  8. 2 points
    This doesn't quite seem to be a fugue in the true sense. It seems more like a canon or ricercar. I'm not sure dissonance is the correct issue here -I can see a lot of issues with just the voice leading, doubling choices, and many unsupported parts. For instance, at measure 9, the winds and violin doubling the same line at ff is going to drown out the rest of the ensemble (which you have at mp and mf.) Your counter subject that begins at measure 5 also lacks enough variety to make it stand out in contrast to the subject itself. Generally, in fugues (and this also includes more modern examples), you want to state the counter subject in a different tonal region. I'd look at adjusting this. The canonic ending -where each voice drop offs leaving the cello- also doesn't quite work with this -particularly since you have the full ensemble play a closing chord. That said, I think the biggest issues here have more to do with lack of planning in terms of your material. One of the biggest lessons in fugal/contrapuntal writing is learning what works and what doesn't. Certain things are well documented: stretto, imitation, false entries, etc. These are classic tools for writing fugal material. I'm certainly not a tonalist and -hence- am not going to comment much on the harmonic nature of the work. Also, I'd do away with the ground bass pattern. One final caveat: I'm not sure who told you -ever- that you should write many pieces quickly to get the mistakes out of your system. If anyone ever instructs you to do this, ignore them. I was told once that there are no mistakes in music. Everything can be reworked. In many ways, this is true. We learn to identify and utilize tools that allow us to convey what we often times hear in our heads. The tools and problem solving are used to make this realization doable. If it takes you time to realize what you envision, then -by all means- take the time to make it a reality. Don't rush just because others thing its necessary.
  9. 1 point
    Honest feedback? Too short to respond to your questionnaire. Game music when the hero is wandering around a town or between towns. Formulaic. Nice sounds though. Were you using loops/presets? A good start but you need to expand on it.
  10. 1 point
    Hello everyone ! I just wanted to rewrite and reorchestrate by ear this beautiful song from the game Death Stranding, composed by Ludvig Forssell. Let me know what you think about the arrangement, the mix or whatever you want ! Thanks for listenning 🙂
  11. 1 point
    Not bad at all. You begin with a good frame (a layer at the top, another at the bottom) and more things in the middle. It starts with enough tension, afterwards it seems more a music for an action movie or something like that. Without images it's difficult to say. Y would use some clusters or dissonant parts, and some eerie or odd instrument (theremin, for example).
  12. 1 point
    Mashup I made of Carol of the Bells with Silver Bells, loosely interpreted in the style of Manheim Steamroller's Christmas stuff! Happy Christmas, everyone 🙂
  13. 1 point
    Hello, everyone. First, I’d like to thank Luis Hernández, Gustav Johnson, and bkho for their comments and advice on my last upload over a month ago. They were very much appreciated and encouraged me to continue composing. Unfortunately I have been traveling frequently since then and as such have been unable to access a piano. This has caused the difficulty of my compositions to increase rather dramatically, and I wouldn’t be surprised to hear that some are virtually unplayable, though I have done my best to exclude chords beyond the octave. In the same way it would also not be surprising if some are in a key different to the one in which I have written them, the major focus of these studies (or expositions) being A Flat Minor. Consider No. 11, the easiest and only one not written in this key, as an apology for any such flaws. I should also mention that I am working on pieces longer than eight measures in length, but in the meantime any feedback you could give would be greatly appreciated.
  14. 1 point
    Hi, My girlfriend encoraged me to write a terror soundtrack. He loves terror movies and their soundtrack. So I took it as a challenge and try to write something a bit different from what I usually write (mainly classical music from the baroque, classical and romantic period). I found an interesting motif (the first two bar of the opening English horn). Interesting because it's quite creepy and perturbating, and at the same time I can use it in different textures, even as a fugue (min. 6, after the DB solo). I used also a lot of tremolo strings, which gives a tense background and also a couple of effects from vienna instruments librery, just in some moments. Apart from the effects that and the use of celesta, which I reserved for a couple of ethereal moments with long Bassoon/Cello pedals, It's a quite classical arrangement (Strings orchestra, oboe, english horn, bassoon, frensh horn, trumpet and SATB choir). I showed it to my girlfriend today and she was very happy for that. So I dedícate It to my girlfriend Ninon...and I hope you enjoy it as much as she did 🙂 As allways, any comments are belcome.
  15. 1 point
    @Julien_Kaw Thanks for listening! Cheers
  16. 1 point
    Man, thanks for that note. I know you wrote that some years ago but I have rewritten and expanded that tune and I wanted to make sure I caught everything. Thanks for catching that!!!! The piece is even crazier now! :)
  17. 1 point
    Hey everyone ! I'd like to share with you my first composition which is " L'étoile " ( the star in french) I hope you enjoy it 🙂 See ya J.Kaw © Julien_Kaw version_finale_etoile.mp3
  18. 1 point
    Very dramatic! The structure and atmosphere seem very theatrical to me, so this could be well suited for a movie or tv score. Maybe some kind of documentary about space? That's what it sounds like to me at least. That was a very satisfying moment at 1:48! Nice job and I hope you keep posting here! Feel free to review others' music also, even if you don't feel confident about it. People like to hear feedback even if it's something simple!
  19. 1 point
    Hey guys these are my opinions on losing the passion to make music:
  20. 1 point
    Nice work. I like the modulation, and the development of the piece. Although the left hand keeps the pattern all the time, the right hand is very rich and the left hand is perfect as a support, in this case.
  21. 1 point
    A very good, eloquent video in a chatty style. Brings up many points that should provoke thought. I personally think that if you have music in you you'll never lose the passion for it altogether. For composers there may be bad days, bad weeks, but it's always there lurking in the background. For some, composing is an innate compulsion; others are attracted to it like many are to the rock guitar. They may do well, they may give up once they realise what effort it's likely to take. With much effort anyone can become first class but it's another elusive step to become an artist. It's always good to take up an instrument even if it's a daw with an adequate means of recording or sample library but for orchestral music, playing an orchestral instrument is essential. Just practice until you're of an adequate grade. It all takes time and effort but it'll prove its worth. Along with score study, playing in the local orchestra is a great teacher! And.....always meet your deadlines. So, congrats on putting it out there, SilverWolf.
  22. 1 point
    Also, If you could do one with the super locrian with a flat 7th that would be the †its!! Cuz I am literally obsessed with that scale and it would make me happy to see it explored!
  23. 1 point
    Hey, welcome to the forum! This sounds very nice, and is well built! Perhaps it could benefit from beign less "loopy". I mean, there's quite enough contrast and there are some very surprising turns throughout the piece, but I believe it would be more fluid if you wrote it without looping the harmonies too much. Just a thought, it already sounds quite good. The orchestration and arrangement is very good, and helps a lot with making it sound fresh throughout. 1:47 feels veeery pleasing. Congratulations on your first piece, it's a very solid win!
  24. 1 point
  25. 1 point
    Enjoyed this alot! It's not my 'scene' so all the more impressive that it worked for me so well
  26. 1 point
    Hey guys. What do you think of this music I composed... i Had a dark film scene in mind... preferably that of a Sociopath‘s mind snapping! https://m.soundcloud.com/jesuz-4/the-sociopath
  27. 1 point
    thanks for your input. I agree that my arrangements might get a little static, I'll have to put more thought into it. Is mid 20th century tonal good or bad to you? I could keep going further into the abyss, it seems to be serving me well so far. Thank you for introducing me to greater musical flexibility
  28. 1 point
    Thanks, Monarcheon - my wife agrees with you 😄 Happy Christmas!
  29. 1 point
    @Left Unexplained I don’t think orchestration is the problem here (if there’s even a problem in first place), but you should think about the textures you intend for the piece and how to achieve them. The way it is right now, you don’t seem to have much of a texture (which may be due to the midi sounds, as it would also depend on what you notate for the players and what the conductor asks from them), but you have what I previously called a “block” of sound. In that situation, texture becomes almost irrelevant as the ear will only be able to catch one “piece of information”. If you shake up the arrangement, the ear will perceive many different moving parts that come together into a more lively final-product. Perhaps you could listen to orchestral works by Debussy and Ravel and see what they did there. It will give you a good insight into what can be done. Also, don’t forget to listen to some 21 century influences, as there are very interesting stuff that can be learnt from those scores.
  30. 1 point
    This piece sounds like it could be a film score. It just has that feel to me. It is a pretty piece that you have composed there.
  31. 1 point
    This is probably one of the better compositions you've posted here. Congratulations on that! I think you were effectively able to work with a pedal and manage a decent balance between homophony, accompaniment, and counterpoint. There are a few things that strike me as odd, like m. 20's lack of a third, the drawn out, naked transition from mm. 58-64 (could have added a violin support, since by itself it sounds a little awkward), and the prominent 4th scale degree on the tonic at m. 56, but overall this is quite nice. I'd encourage you listen to some of the other Christmas Event pieces if you have a chance! It's nice that we're all giving back to each other. Have a great holiday!
  32. 1 point
    It sound's awesome. I love the double bass lines. I guess it's a life recording, isn't it?
  33. 1 point
    You say you want to avoid unwanted dissonances... but I'm assuming you don't necessarily want to follow Baroque fugue rules? Because if you did, the vast majority of this piece would need reworking, i.e. parallel fifths everywhere, parallel dissonances, incorrect chord resolutions. Operating on the assumption those rules don't matter to you, I'd still say that dissonance is the main issue here, since it obscures some of the chordal function of a lot of the piece. m. 14 is an example of that with a 7-8 bass suspension from B to C in the cello, but a motion to C on beat 4 before the syncopated resolution of the suspended tone. These sorts of little things exist in a few places (i.e. m. 20's G∆7 chord as a resolution to C). It's a well-thought out work, with an interesting take on the idea of fugue as a homophonic unit, but obscures the tonality a little bit too much.
  34. 1 point
    I also like them a lot. I feel like they are the strongest moments in the music. The midi sounds might be blurring my perception of it a bit, but I lack a bit more rhythmic inconsistencies quite a bit. I feel that the way you have it working right now weakens the apparenty very interesting elements in orchestration you have going, as it all becomes one "block" of sound due to not much diferentiation between the parts. If the parts were more diferentiated you could perhaps reduce the density of the orchestration in some parts, as the ear would have more to cling on to. This would make the music lighter to listen, which is probably a good thing, especially as this is a christmas thing. 1:43 reminds me of Ravel quite a bit, and I don't think there's better compliment than that. Very good job, I particularly like the harmonies in the beginning, especially when together with the flute part. Merry christmas to you, I look forward to listening more of your works in the year to come 🙂
  35. 1 point
    Composition completed on: Etude-Tableau №8 in F sharp minor ICO №94 - 09/09/2016 Etude-Tableau №9 in F major ICO №95 - 09/11/2016 You also can watch this piece here -
  36. 1 point
    I agree with this, I think! The abrupt changes in texture and tone are I think the most stand-out to me, since little transitional material is accumulated at the end of every return of the ritornello, it doesn't serve the purpose of priming the audience to listen for the fancy stretto/fugal stuff that's going on.
  37. 1 point
    The ritornello phrase is so strong that it seems to swallow the rest of the music. I'm not sure this form (rondó) goes well with this kind of language... I think the best parts (for me) are C1 and, particularly, C4 because of the richer texture. In fact, in section C2 the directionality is lost for that reason: a fixed texture, plus the repetition of the section. The pedaling in this section is strange, it follows the measures, not the chords. Overall I like this piece, although I would prefer not each section in a single pass, not repeated.
  38. 1 point
    Just A short piece I decided to make in between some bigger works.
  39. 1 point
    It takes a lot of guts to put yourself out there with just guitar and voice, cuz there's no place to hide. But it's good. Just keep on going. 😊
  40. 1 point
    On listening again. I would practice your guitar fingering, lift you fingers slightly so you don't get all those squeaking sounds. Also you have a lovely voice, don't be afraid to sing out. Other finger picking patterns would spice up song nicely.. Either write a vocal melody for the long instrumental, or shorten it, and come back to voice again.. This song is a good foundation to put some more work into. Also you could consider saving it, write more, and come back to it, when you have more ideas to add to it. A fair amount of people write things, keep a good reference audio of it, and some kind of notes so you can re-create it. I sometimes get stuck on a song, and can't seem to compete it. I put it aside, and then one day, I find I have some new techniques to apply to it.
  41. 1 point
    I normally don't visit this section of the forum. The title is what really drew me in. I'm very sorry to hear about what you're going through! I can't offer or say anything that would help you, but I can tell you how much I enjoyed hearing your music just now. Your feelings came through very strongly, and I'm hoping for the best for you! Please take care and keep composing if you can!
  42. 1 point
    Hi Muhammadreza: The song is beautiful and sad. It certainly reflects your message. I might like this the best of all your posts here. I too have battled depression/anxiety for decades. I take psych meds, and counseling. I'll go for a while, feeing neutral, or even good. Then I might really fall deep into an emotional hole. A lot of people don't realize MENTAL HEALTHis a real issue. Your brain is an organ in your body, and it can go from states of health, strength, depression, or weakness. And some people mental health is something that should not be talked about. There are various ways to deal with depression. There are coping strategies you can learn to use.. Like you did here, I sometimes use music to express an emotion I'm feeling. The process of creating a piece, helps you process your feelings too.. You are in my thoughts
  43. 1 point
    Cool piece! I wasn't expecting the cello solo! If you had shown me this piece and asked me to guess the title, I don't know if Cloudy Dreams would have come to mind, but I think it definitely fits. I also enjoyed the sound effects throughout. Thanks for sharing!
  44. 1 point
    Hello guys, I am totally new here and I am really impressed by discovering such an active forum with so many talents! I am really surprised, didn't know there was such a place on the web! Anyway, I am a youngish composer (31yo), I started composing around 2 years a go (but play the piano since many years). I have composed a good amount of stuff but my favourite is probably Math Piano Rock. This is inspired by Math Rock, a fast paced genre with frequent change of rythm and no lyrics (I hate lyrics!), but also Prokofiev and Bartok. The piece is *difficult*! The video below is performed by a software - but I have actually played it live a couple of times (you can see in my channel some videos where I do that, if you are interested). I am always looking to opinion, suggestions and ideas!
  45. 1 point
    Updated it. Turns out it's being used as fighting music so I acted accordingly. How's it sound?
  46. 1 point
    It sounds similar to James Horner Avatar and Alan Silverstri Abyss Theme. Good job.
  47. 1 point
    I desperately want to plagiarize Lament of Virgin 🤯
  48. 1 point
    There's a bunch of things you need to do/pay attention to. I'll make a bunch of lists now. Budget, because you need to pay for: Musicians (concert and rehearsals) Venue (for the concert itself and maybe if you need to rehearse there beforehand.) Logistic (travel costs if people are not from where the concert is) Misc (Food, lodging, whatever comes up) Then venue: Does the venue allow for rehearsals? How often, how long? Do you have to pay extra? If you need a piano, does the venue have a piano (and if so, what kind, which tuning, etc.) What's the lighting situation. Can you set the lighting yourself, is there a technician, etc? Cost, of course. Sometimes venues will collect a percent of the ticket sales, you need to get that all in writing. The meatbags with their noise-implements: Certain instruments (usually stuff made of metal) need time before rehearsals to "warm up," take that into account when planning your rehearsals. Dress code, which usually isn't a problem, but it can be with singers and, well, women. Not a "problem," exactly, but it's something to add to your checklist nonetheless. Applause rehearsal, because seriously this is important and it reflects on you as a composer that everyone knows what the hell to do during applause. Encore? Plan at least for two short pieces (or a repeat of a catchy bit from the concert program), because being optimistic helps group dynamic! Keep rehearsals short and precise and try to schedule them either before or after lunch, since you don't want people hungry while they're trying to follow a 32th 7/16 marimba passage. If your rehearsal is so ungodly long that it overlaps with lunch (or dinner), then make sure you give your musicians options for taking a lunch break. This is your responsibility as organizer. The actual concert, finally: Organize your concert program so that if you suddenly need to move 5 marimbas and 2 pianos across the stage, you don't do it between short pieces. Keep large things on their own concert segments separated by a pause. 15 minutes is good enough for a pause, only do longer if you need to move 10 marimbas and 4 pianos, or something that requires very specific preparation (like tuning a harpsichord to a specific tuning, whatever.) Calculate the time the concert will last. This is very important specially when you're presenting the project to interested venues. You need two numbers, the actual length of the music proper and the "real" length, including pauses between movements, stage setup, pauses and applause. Can also include introductions, and any other thing that happens during the concert. Round upwards always, things take much longer than they may at first appear. Make a good and proper concert program that people can have during the concert to read up on important things like your biography, how great you are, and why everyone should be like you (great). Don't forget to ask the musicians if they are OK with including biographies for them in the program and allow THEM to give you their own text. Edit for size, but not for content. Also helps to add a list of the pieces performed along with their length and any other things you think are interesting to know. As a super helpful tip, if you can't fit it on a double-sided A4 paper, then you need to reedit. And if all of this doesn't scare you, then congratulations! You're ready to annoy strangers with your weird pieces for dog whistle and garbage truck.
  49. 1 point
    III. Great. Notational errors aside (which I would strongly recommend fixing) and a couple inconsistencies (i.e. why doesn't the first measure use the whole note like the rest of the piece), the ending was the only thing that threw me. While I do understand and like the effect of getting progressively emptier as time goes on, I think it might have been a little too abrupt with the truncation of the left hand motive. I'm not entirely sure. IV. I like this one too. Kind of an interesting Japanese feeling with the use of the majority of the Insen scale (minus the minor 7th), but it works nicely here. Notational issues are kind of a thing and I would look into rest beaming or crossed staff notation to alleviate some of the difficult rest reading. The part with the trill at the bottom was the weakest for me. The attention to detail of the rhythm, which was arguably the most important thing in this particular piece, was a little bit lacking, relatively speaking. Overall, it was enjoyable.
  50. 1 point
    This is kind of a piece I had written before knowing much about theory, but knew enough about composition and form to formulate a coherent piece. It didn't help me get into Oberlin so I'd love to hear why from you!
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