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Showing content with the highest reputation since 02/29/2020 in all areas

  1. 5 points
    My Piano Sonata No.1 in F Minor composed in 2018. The sonata has 3 movements and is written in a romantic style. The first movement is in rondo form. The second consists of a prelude and a short fugue, and the final movement is more free in its form. The sonata is inspired by some of the works of Chopin and Beethoven. I'd be interested in any feedback. Sorry about the awful recording quality.
  2. 4 points
    I'm a doctor for what's its worth. Please everyone, relax. Certainly, there is concern particularly for the high risk elderly and those with complex medical issues but for the vast majority of people, this is really similar to a bad flu which is also high risk in elderly and patients with complicated medical issues (yet people still don't vaccinate for this......). Take the usual precautions by good handwashing/hygeine, avoid large crowds when possible, and look after your loved ones who are higher risk. The hysteria can be worse than the disease itself.
  3. 3 points
    ***** Anyway I've already commented on this person's efforts several times with no acknowledgement or thanks when I really should be putting time in on a project even if stalled by this latest virus thing) so I won't be commenting again. . ***** @Quinn, I get maybe four acknowledgments out of ten comments I leave. It's a problem around here, and it's just bad form.
  4. 3 points
    A prelude I have composed yesterday. I hope you like it!
  5. 2 points
    yes but so far it's @jawoodruff , @Moueen Issa , @TheCluelessClariney , you and I, But i think we will wait 2 days for everyone who wants to join to join.
  6. 2 points
    Hello everyone! I'm Norbert from Hungary and want to share one of my pieces with you i've written 5 years ago. I included a little backstory for this piece about how i made a little "Fiverr Orchestra" to play my piece which i mixed in with Note Performer 3's samples. Please read it before making any comment, because context matters! Thanks for listening! Enjoy! : ) (I also included the original midi files, along with the recorded live files and also of course the final mix with score. Also i'm not promoting Fiverr in any way as i stated in the pdf, i just wanted to give credits to the musicians involved, because they deserve it!) Here's the link for the midi version: https://drive.google.com/open?id=1CaRCS_8gdb49YOsqAAbKMmhM5eFNbEUC
  7. 2 points
    Just completed this after spending two months trying to come up with something in F. Decided to experiment a bit here with weird rhythms etc. and don't know if it is a successful use of these things or not. Any advice/feedback is greatly appreciated, cheers. Also thanks @Tortualex, @maestrowick, @Jean Szulc and @J.Santos for your feedback on my previous Eb min. nocturne. I'll work on the suggested improvements but it will most likely take a while as it take me ages to come up with anything now.
  8. 2 points
    Hi, here my new baroque piece. I dedicated some time to write down all the ornamentation for the solo oboe part, though I'm not sure if it would have been written like that on the period, or if it was the player who freely chose the appropiate embellishments. Anyway I had to write it down on my notation program if I wanted it to be played like that, so here it is. Let me know your opinion.
  9. 2 points
    It's been a while since I've written something truly tonal; even my musical theater stuff uses post-tonal theory. You'll hear the main motives a lot, and my intent was to practice imitation in various ways. Hope you enjoy!
  10. 2 points
    Hi, I am from Syria and I'm 19 years old. This is a short solo piano piece I have composed. I hope you listen to it and give me your opinion!
  11. 2 points
    It sounds amazing! Thought there's 2 things you could improve, and I'm not talking about the piece!!! First of all: speed is not always a way to show something good. I will greatly slowdown that tempo. You need to prove a lot of tempos before deciding one. Second, it would be nice if you bring us the score too! If you have it we could criticise the scoring and have a more clear vision of the music. Keep doing this well!
  12. 2 points
    It's a simple influenza with a bit of more issues. Only old people or people with diseases as hypertension are most probably to die. The chance that someone healthy or even normal is going to die is 0.5% more or less. Even counting vulnerable people it's still lower than 2.5% mortality rate. Don't panic, that's simply stupid. Wash your hands and try not to expose to the virus (touching with the hands things in public places or contacting people phisically without being able to clean your hands/face)
  13. 2 points
    I really like your suggestion. Everyone on this feed has been awesome. Writing the piece itself is not difficult. It is a large-scale show, and that’s not the challenge. I don’t doubt my capabilities of taking on a big project. I’ve always been a compulsive worrier. I’m very proud of my opera and I wouldn’t be writing it if I thought it would sit on a shelf and collect dust. There’s that “tape that plays in my head” that is trying to convince me to drop everything and give up. I’ll be poking around on that website.
  14. 1 point
    I might recommend a deadline, so we're not blindsided by an extra person joining in at the last minute... but maybe that's my competition moderation mindset coming back 🙂
  15. 1 point
    I think it would be neat to have it done privately, but I'm OK with whatever. How detailed should the topic we send be?
  16. 1 point
    This song really makes me cry and I like this version of it because it's a bit more somber. Post malone back in the day!
  17. 1 point
    We love you @Ken320!!!! You and @Quinn are both awesome assets to the forum. You both should be commended for upending the reviews here. They are well appreciated!
  18. 1 point
    Besides that, I think the harmonies get quite repetitive. I think a lot of people write electronic music only thinking about loops, but it's much more than that. Try thinking about it as more of a flow than a bunch of looped ideas grouped together. The melody around 0:30 is very well-written and catchy, congratulations on that.
  19. 1 point
    maybe add a synth wobble with some reverb high in the register to compliment the hi hats. Also I think it could use better sound design, I don't know what synth you are using but most of them have filters you can automate. It's a catchy tune but that's only half the battle in electronic music
  20. 1 point
    I like it, but it could be more adventurous. That being said, I like that you compose for your instrument and can play it, I think that will serve you very well going forward.
  21. 1 point
    For some reason I couldn't get into the flow of these, especially the first one. The tonality shifts like Rach does, yes, but in combination with the constant change of momentum it felt like getting nauseous on a rocking boat. Coupled with its sparse writing it ends up sounding, to me, uncomfortable.
  22. 1 point
    Ok, I've said this in response to another of your pieces, take great care if you give the double basses an independent line in a tonal work of this kind. It's going to make the bass sound muddy. The solution is to rewrite the string harmony with the cello playing the bass line. Then you can double it with the basses playing pizz - not just on the first beat; sometimes the 1st and 3rd beat, sometimes the 1st 2nd and 3rd. There are lots of things you could do with the bass line though.
  23. 1 point
    hello sir or madam, i went and made an unofficial discord server, dunno if there was one, but y'know whatever. here's the invite link https://discord.gg/mGWknNT
  24. 1 point
    The lullaby reminds me of LIszt's Lebestraum -only less imaginative. I like it though. The B7 in measure 15 doesn't quite work and seems to sever the environmental that preceded it drastically -I'd look for a different progression here. The material at measure 17 also is a bit departed from the first half. A little too much, in my opinion. I'd look for a way to tie the two sections together (mind you, this could also be due to the transitory progression I mentioned at measure 15). When you change textures like this, it's always a good idea to foreshadow the change to prepare. In Viaje, I noticed you love the type of texture created by the opening bars. I've seen this in a few of your works. So, that said, let's see where you take this. Here, you took it where I figured you would -give me something new. That said, I think you missed an awesome opportunity to explore the tonal landscape in measures 21-30. Formalistically, I think this one is much more cohesive then the lullaby. Nice works!
  25. 1 point
    Same here. It's all been said. If you want to write orchestral compositions you have to study orchestration which really means studying scores and doing lots of listening, finding out how composers produced the nuances in their use of timbre, dynamics and harmony. You seem to write tonally (basically) so it would be worth looking at harmonic progressions, modulation particularly so you can change key as your melody suggests, with ease. I doubt many here will agree but Beethoven is a great study source. For orchestration, his 3rd Symphony or possibly the 7th. His woodwind writing is exemplary (how he dovetails or stacks his woodwind instruments). I'm ambiguous about college teaching people to compose. I suppose it depends on the teacher(s). I did about 18 months and ditched it. Composing to a mentor's demand or for the sheer exercise might be good for discipline; it might be good for academic form but you can't teach people creativity. It could force you down avenues where you don't want to go. On the plus side you'll be surrounded by musical people and probably have live performance opportunities....that's when you start to learn. I ended up mostly with one-to-one tuition (which was more about guidance and criticism than instruction). Good luck!
  26. 1 point
    I love the opening of the Minuet. You seem to provide enough interest -while at the same time respecting the roots of the traditional suite format. Very nice work. I second the comments above: I'd very much love to see more added to this. Did you base these off of the famous Bach Suite for Cello?
  27. 1 point
    I love the use of mallets doubling the lines. good piece!
  28. 1 point
    Man, your voice is awesome. You will be a heck of a composition teacher!
  29. 1 point
    Hahahahahahahha. Iwish I had that type of power. just trying to create a movement 🙂
  30. 1 point
    I think this will be incredibly hard to play if divided into two people. Perhaps a two keyboard harpsichord might be useful, if each one is tuned a half-tone apart. Besides that, I don’t see another way of doing it other than by an immense effort by a couple of musicians.
  31. 1 point
    Do you have a score for it? It would be very useful to see how that could be achieved. By the way, what is that sound around 0:32?
  32. 1 point
    Sounds amazing! The question is: how exactly do you expect it to be performed? Is it for one piano using a specific tuning, or will this be performed on multiple instruments each with a different tuning?
  33. 1 point
    The first one reminded me of Ligeti, but for the second it totally strikes me as Schöenberg, specially his Op.19 is pretty similar. For the third one I don't know what to say, it was both like Bartok microkosmos and the simplier Stravinsky at the same time. Good job!
  34. 1 point
    Well I like the piece. I'm liking how the vocals create a bed for the other melodic elements. If I can offer a suggestion.. maybe try to create more space in the track through reduction.
  35. 1 point
  36. 1 point
    Slow the intro down just a tad, maybe 10 ticks to make it even more playable
  37. 1 point
    This needs a recording ASAP. The interplay between the instruments seems very well-designed. I think this will have a great effect once played by actual musicians. Great job!
  38. 1 point
    Style-wise, very Stravinsky. Still, very put well together. Strong composing sir!
  39. 1 point
    It was fine until the violin came in on top. The chord tones it aims for a little off and its relative lack of momentum is fine, but might want a little bit of a better lead-in.
  40. 1 point
    Welcome back my friend!
  41. 1 point
    Great gift 🙂 I'm considering buying a VST, and I'm thinking about the Native Sounds Symphony Essentials. Seeing the results of the Eastwest libraries I'll also consider them.
  42. 1 point
    Form is a difficult topic with contemporary music (as the term seems to be used in the UK, as opposed to modern). As developments broke with tradition those traditional forms were eroded or abandoned leaving composers to work out things for themselves – if they found it necessary. To me, it’s feasible for the form of a contemporary work to be unique, a one-off, especially with through-composed works where proportion and episode are more relevant than traditional structural components. It isn’t saying that a contemporary work shouldn’t fit a traditional form just that it’s less likely to – and may actually be formless beyond its internal logistics – how the material is drawn together. On setting out on a new composition the last thing on my mind is its formal construction. However, proportion and contour (particularly in dynamics and timbre) are very to the front along with how well motifs can be exploited.
  43. 1 point
    So effortless yet complex... I loved it! Cinematic music at its finest, and just good all-around writing for orchestra. You definitely have a gift! Thanks for sharing with us!
  44. 1 point
    Beautiful and colorful piece. Some impressionistic and oriental touches. It sounds very "cinematic".
  45. 1 point
    so mysterious and beautiful! the harmonic complexity and the richness of texture are stunning
  46. 1 point
    i don't believe in that at all. What makes a music (subjective) sad or not is not. the key but a whole bunch of things. When I write tonal music, the key is chosen depending on the instrumentation and the range of the instruments. But, of course, you may think the opposite,
  47. 1 point
    One theme would work if it presented textural variability and could be manipulated enough to provide contrast. I'll touch form last. Sound effects and extended techniques: to be honest, I'm not a fan of overly using them or using them for the sake of it. I've seen lots of crummy pieces that hide the crumminess with extended techniques -and people swoon! To me, its disingenuine and poor craftsmanship. That doesnt mean the technique is baseless -you can certainly create awesome material with it- just dont try to hide mediocrity behind it. You dont have to be atonal at all. What I mean by not using key sigs has nothing to do with writing tonal or atonal and more to do with freeing up self imposed restrictions. You put a key sig up and you're going to box yourself in. Key sigs that indicate tonality are not the same as transposition key sigs -you should use the latter (unless you know your musicians can transpose without them -but, even then, you should still add them). Now, form: One error I see time and again on this forum is people discounting the importance of form in modern music. This is pure b.s. and should be called out thoroughly. Form is still extremely important. The one difference is that often the material itself dictates the form. You don't have to subscribe to the T-D formal structures of the classical and romantic periods but you should adapt and utilize the forms inherited from those periods. Again, let your material help strengthen your formal considerations. I often take great care in choosing chords and progressions. So, I would argue against using any chord however you want. Despite lacking tonic resolution, every chord should add to some sort of tension and relief. Again, you have varying degrees of tension and relief. So, still give thought to your chords.
  48. 1 point
    First time I noticed it was measure 33, I think bass drum could help drive the momentum forward, and then in measure 71 some loud bass drum hits will make the arrival more dramatic. it sounds great as is, it’s just rare to see bass drum excluded from percussion instrumentation, especially when there is a snare drum. Might help keep everything together tempo wise as well (not that this was really an issue)
  49. 1 point
    I have written this as part of the Christmas music project. It's a revision of a carol I wrote a couple of years ago (which can be found here) based on Shakespeare's "Song of the Holly." It is for SATB choir and an accompaniment.
  50. 1 point
    I like your project idea and the result. What sound library and editing software are you using? (string sustains in low dynamic sound just amazing).
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