Jump to content

Leaderboard

Popular Content

Showing content with the highest reputation since 09/20/2021 in all areas

  1. It took me forever to write PRO LEVEL literature, but with this handy dandy WORD PACK you can use PRO LEVEL WORDS in your writing. Just copy and paste these PRO LEVEL WORDS into your stories to make them PRO LEVEL. I wrote this comment entirely using PRO LEVEL WORDS from our PRO LEVEL WORD PACK. My comment is now PRO LEVEL
    3 points
  2. Buy our Midi Chord Pack now! It took me forever to get my chords to a pro level but with this midi chord pack you can have PRO LEVEL CHORDS now in all 12 keys! www.musescore.com/community
    3 points
  3. 3 points
  4. One of these days you'll have to stop blatantly stealing others' music. If you ARE going to steal, make it a piece by someone obscure. Is it any wonder you're asking for ideas? You have none of your own and you aren't Rachmaninoff. Here's the piece you stole from. You just shifted it down a semitone. https://www.youtube.com/watch?v=YmSDDslA__M But... I relent. Here are a couple of totally original ideas for you. Maybe they can be added on:
    3 points
  5. This time you're plagiarizing Rachmaninoff's Italian Polka. This isn't a passing, inoffensive quote, but a long, copy-pasted passage from another work and there's no acknowledgement whatsoever. I've lost count of how many times you've done this. Why are you still convinced you can get away with it? Please don't insult my intelligence again by saying it was an "accident".
    3 points
  6. Sinfonia in e minor for baroque orchestra: My last two movement Sinfonia for baroque orchestra. And with this one i finished my profject of writing six two movement sinfonias. I hope the last one goes out strong. Titled "Inferno" this a dramatic sinfonia in the key of e minor. The other five Sinfonias are posted in chamber music. 1. Sinfonia in C major 2. Sinfonia in A minor 3. Sinfonia in F major 4. Sinfonia in D minor 5. Sinfonia in G major 6. Sinfonia in E minor Plase tell me what you think.
    3 points
  7. I wish someone would plagiarise my music. Im at that early stage in my development as a composer that it seems appealing.
    2 points
  8. When I heard this I was left wondering if you'd heard the same amusing anecdote about Shostakovich that I'd first heard in my university days. Stalin and Shostakovich obviously had no love for each other, and so as the story goes, Stalin asked Shostakovich to do something impossible in order to give him an excuse to deport him to Siberia - compose a new symphony for a state occasion with a day's notice. Knowing this was impossible, Shostakovich was completely frantic. In desperation, he asked his trusted copyist to run down to the library, find a symphony by an obscure composer no one had ever heard of before, and transcribe it backwards. The faithful copyist obliged. The next day, a smug Shostakovich sat in the audience awaiting the premiere of his "new work." Imagine his horror when the orchestra began playing the opening of Beethoven's 5th symphony... Now, amusing as it is, of course the anecdote falls apart as soon as it mentions Stalin looking for a reason to deport someone. He never needed a reason for anything.
    2 points
  9. tried to use a lot of fourths since I mainly think in thirds. Idk if that makes sense.
    2 points
  10. No. I don't see what's wrong with your reaction - or mine - or others if they'd only speak up. What are the motives behind Stromberg and Nelly Visser pushing posters to stuff their music on the musiscore community? They're doing it on almost every one of their posts. Of Stromberg's 29 posts it's happened 27 times, it looks like. Of Visser's 14 visible posts, he/she has done so 13 times. No profile information except gender. Male and female respectively. Neither have posted music of their own. Now we have another one - Nesterovich. Same. What the heck is going on? There are others of identical characteristics operating on other fora too. Hence my suspicions. Call me paranoid if you like but sometimes it's better to be paranoid than a fool.
    2 points
  11. I'm making the video start with the last piece on purpose, because it's the one I like best, and the opening prelude will probably bore people too soon. Score and parts can be seen here: https://albertdelaf.com/op-15-four-pieces-for-saxophone-quartet/
    2 points
  12. I'm thinking of this piece to be a polka in ternary form. Any ideas?
    2 points
  13. I know that you're ridiculing plagiarism on the forum...but... I actually loved that it's so much fun! Please continue it. aMC
    2 points
  14. Originally, the theme at the start was supposed to be much faster and energetic (at 1:11). It's kinda like the main theme of the chapter (that and the "Legends" theme, around 7:04). I wanted it to be brought up after the Legends theme, so I partly introduced the theme in much slower pace (1:11) and at around 2:04 - 3:49, which is much faster because it is an orchestration of the original OST where the composer developed the theme into much more jumpier tone. You can hear me experimenting on how I can bring back this theme slowly at the end and finally fully introduce the theme, which I am going to work on more. I imagined the coda of this chapter's movement would be like a question, like an unresolved chord or something and I figured it's not gonna be bombastic. There are like 7 chapters, 2 of them have already been released, and I'm planning to make each chapters as one movement. Thank you very much for the feedback !!!
    1 point
  15. I'll have a try later on. As this topic shows I utterly hate plagiarising and NEVER do it.... (usually :D) In those few moments I came up with this original plagiarise, just a few bars opening. For a quartet as it disguises the source better. Anyfink else I can nick?
    1 point
  16. I am not familiar with DeltaRune so the themes presented are totally new to me. Speaking of which - this music is totally awesome! I know I can't give you full credit for the quality of the themes themselves, but you did orchestrate and produce a piano concerto arrangement and medley of the themes. I don't think any of it is corny. There's plenty of interplay between the piano and orchestra. The themes in many places are kinda sweet and cute. I like how you accompany the piano with woodblocks around the 4 minute mark. There's lots of creative ideas to keep the listener occupied throughout. I love the dramatic moment at 7:45 where the orchestra takes over the theme in a much more substantial way in contrast to the piano's slight statement. The repetition of the theme around 10 minutes creates a melancholy trance like state that's really enjoyable. Around 12:55 it starts to sound like it's about to end but then you elongate it and transition to a slow recap of previously stated themes (it seems like you're probably stuck here and don't know how to end the piece). I think there's a danger of disrupting the pacing and natural flow of the piece towards a loud and bombastic ending that you seemed to have developed - it's up to you whether you continue the piece at a fast pace or maybe find a soft and gentle way of ending the piece (which could work too). Thanks for sharing!
    1 point
  17. Is that some new gangsta rapper or something?
    1 point
  18. that's why we've had to resort to using $ signs in place of s's: a$$a$$inated. 😂
    1 point
  19. HA! .....All I recall is Bartok's Concerto for Orchestra deriding Shostakovich's 5th Symphony. In my early teens I could never understand why Shostakovich would write such a corny piece until I found out about Russian commie music. I sometimes wonder if the woke hard left got in power in the UK would a similar thing happen? Someone forced to write a Symphony on the tune of "the working cla-a-donkey/ can kiss my a-r*** / I've got the leader's chair at last.... NO-O-O! That wasn't what I typed. I typed "the working cla-a-ass / can kiss my donkey..." Well you know what I mean. Where do donkeys come into it? I mean imagine a word like assassinate: Stalin has been donkeydonkeyinated. WOW! Jeez, the AI round here isn't particularly 'I', is it?
    1 point
  20. An attempt at writing a piece for a large ensemble more out of my comfort zone, feedback appreciated!The Dance of Dragons.mp3
    1 point
  21. 1 point
  22. A piano music I improvised I hope you like it.
    1 point
  23. Nice piece! I like the chromatic runs in particular
    1 point
  24. I love this piece. It's got a great and multi-faceted introduction part of which you bring back near the end with the quick woodwind gestures in the background. It's very bright and happy and I know you were worried about sounding like a copy of John Williams (he does have a particular way of using 4ths and 5ths that can be cliche) but I don't hear that - it sounds very unique and individual. Great job!
    1 point
  25. piece for flute,cello,piano trio about the beauties of daily life
    1 point
  26. Alas, the score has gone. No matter, a most enjoyable piece and confirming your mastery of piano, harmony and harmonic rhythm. You also seem to have cornered the smaller ensemble market. (I envy you.) The piece is brilliant in its romantic context. You seem to have a natural flare for the contribution each instrument can give in the ensemble. And you seem to get exceptional quality and performance out of your software. This piece matches any commercial recording I can recall of similar music. A pleasure to listen to. Was there a reason for withdrawing the score? .
    1 point
  27. ok so like you're paid by MuseScore to infiltrate music forums and convert people to musescore's right?
    1 point
  28. hello everyone, I am back, this is my new piece, hope you like it! the video: 【终极完美版】作品5之2 微分音钢琴音乐的开山之作_哔哩哔哩_bilibili
    1 point
  29. Try to find them here: https://musescore.com/community
    1 point
  30. Tough one, and I agree with some such as Beethoven's C minor variations and Alkan's Festin. Some other sets I love are the slow movement of Scriabin's piano concerto, and Szymanowski's two sets of piano variations.
    1 point
  31. I've personally always really enjoyed Salieri's "26 Variations on La folia di Spagna"
    1 point
  32. As trazoM would say ... "tihs ym tae" (and that's a direct quote from Amadeus) ... apparently trazoM had quite a hsitef lacef!
    1 point
  33. 1 point
  34. Great work! Guys from ABBA community- https://musescore.com/community will like it!
    1 point
  35. movement from a piece im making about family life and struggles.
    1 point
  36. Agree, it's very nice. Although I could like it stylistically to a couple of composers I won't. Very lyrical, emotionally warm. Superb harmony. My only problem with it was the drum underpinning the main beats which gave it a funereal feel.
    1 point
  37. Hey all, Just wrote this little piece for clarinet and piano today. I've aimed for a more 'modern' sound than my typical output. Would welcome any thoughts and feedback Dan
    1 point
  38. Love it. The percussion especially gives it an almost cinematic vibe but one which helps the progression of the piece. I'd love to hear this live. Are there going to be other movements? Your writing is really effective. aMC
    1 point
  39. You know what I like about this - its simplicity, its calm and the harmony is just touched in. Whoever is singing has a breathy, slight voice that gave the piece a mood of innocence (to me, anyway), slightly out of tune in places (which doesn't matter - it could be deliberate microtonal inflexions). I'm very familiar with the Song of Songs (canticum canticorum) having myself tried to set the first chapter in Latin. My only criticism is that the harp needs to be a little quieter. At present it sounds more like a guitar too close to the microphone. Faded down just a notch would reduce its dominance. Edit: And it's one of the more original works I've encountered here, the blending of languages, the mix of texts, that calm voice. I am intrigued! Nice, Maria.
    1 point
  40. interesting.. Thats not something I stopped to question. I just thought im building up to something better add something consistent to give it structure. I wish we could work on a daw like google docs or something.
    1 point
  41. Yeah I know what you mean. In my experience their usability is very context-dependent - you just have to try and see if they work and adjust as needed. For example, I use Spitfire Symphonic Orchestra for most of the stuff I make. They tend to be pretty good for simpler stuff and passages that are scalar in nature, but as soon as you try to use them for arpeggio's and lines with alot of skips, they quickly start to get a little messy - the solo trumpet and some of the woodwinds are particularly bad. I honestly find myself using the "long" patches on the woodwinds more often than not, since they tend to sound more legato than the actual "legato" patches lol. FWIW, I recently picked up VSL's Synchron Strings and Synchron Brass. It seems to me like they took kind of a hybrid approach with these libraries, where they have lyrical legato patches that use real samples, while they also have "fast" legato patches that seem to be more simulated. It may not be a "true" legato, but since you're using it for fast scales or arpeggio's you can't really tell anyway.
    1 point
  42. Yeah, I'd heard some different recordings in which there was a much stronger drop off and some other performances had a lot more varied tempo. Though to be honest I kinda didn't limit my reference to specific recordings and more just tried to make it sound like a new-old one, if that makes sense. The clarinet articulations are a massive pain in the a$$ and difficult to get the short ones under control. One of the scores I was looking at I definitely think probably had wrong notes so that's one thing, but another thing can be that the vinyl plugin it's all being run through does modulate and distort the pitch Cinematic Strings 2 for the strings Orchestral Essentials for the brass Cinewinds for the bassoon and ye olde East West Symphonic Orchestra for the rest.
    1 point
  43. It is beautul Ivan! For me it is somewhere between Vivaldi https://musescore.com/sheetmusic?text=vivaldi and Sting https://musescore.com/sheetmusic?text=sting. You know why? Because you mixed a lot of styles here- I can hear jazz, white soul, classic music. I've never heard something like this!
    1 point
  44. Wow - this is a good exercise and it's different enough from the original to not be trivial. Even though you use similar themes you change the accompaniment. I think what would also be beneficial for you is to try and compose simple binary or ternary forms with simple melodies that you come up with yourself and then you could expand into sonatina form and eventually sonata form as well (many on this website have taken this route such as @Papageno and @Yuchanbot). By the way - a Neapolitan chord does not function as a tritone substitution in the classical era. It usually appears in first inversion (in the key of C with an F in the bass) and functions as a predominant chord (so more as a more chromatic substitute for the subdominant). Thanks for sharing! The rendition sounds excellent although when I compare it to the Beethoven - the original seems to have more oomph to the dynamics and accents.
    1 point
  45. You should be proud of this. This is really quite pretty. The soloist you wrote for is also quite talented. Usually I am really wary of piano arpeggios because of the marketing MK-ULTRA assault campaign, but here they work nicely with the voice. The main criticism I have isn't a compositional or performance one: its a mixing one. The piano is really difficult to hear. I don't mind the scratchiness at all but the bass cleff is really buried. It gets an 8 / 8
    1 point
  46. Yeah, "accidentally"... Are you aware not anyone's 12 and can notice when one's blatantly bullshitting?
    1 point
  47. Good evening everyone! I'm ready to present a new piece I have been working on for the last couple of months or so: Adagio for Orchestra. It’s a relatively short piece, not as large in scope as some of my other works I have posted here. Admittedly I’ve had a little bit of writer’s block recently, so I toned things back quite a bit and instead focused on simple themes and experimenting with an expanded orchestra, including Euphonium and Saxophone with the usual instruments. I'm interested in any and all constructive feedback. I had a few goals in mind as I composed this, feel free to chime in on how well I accomplished them: Focus on simple, memorable themes. Experiment with orchestration, using auxiliary instruments to create some unique textures. Integrate Euphonium and Saxophone with the rest of the orchestra. Write something that would work as a middle movement of a larger work, such as a symphony. The piece is loosely structured in a binary form with repeat (ABAB). (0:00 - 1:09) – Introduction. Euphonium solo that is passed between and elaborated by other members of the winds, punctuated by sweeping string lines. Most of the thematic material from the piece is extracted from this opening solo. (1:09 – 2:41) – A Theme. A melancholy dirge carried by a bell-like ostinato played by harp, celesta, and piano, with rustling tremolo in the strings and an eerie chant in the winds. (2:41 – 5:00) – B Theme. A floating theme first presented by the oboe then embellished by the strings to the first big outburst of the piece. Material from the A Theme is elaborated here, then the strings carry the oboe theme to a new momentary high, before settling back into the recap. (5:00 – 7:11) – A Theme recap. The dirge returns, this time building to a euphoric climax, then drifting away into the upper register of the woodwinds and strings. (7:11 – 8:13) – B Theme recap. This time the clarinet sings the theme. I experimented with some polytonality/polymodality/whatever-you-want-to-call-it with the chords in the horns, trumpets, flutes, keyboards, and harp. I’m curious how well I pulled this off. (8:13 – 8:38) – Coda. Return of the Euphonium solo, this time drifting off into silence to end the piece. As usual, I have few specific questions I would like specific feedback on. Feel free to answer as many or as few as you wish: What effect does the music have on you? Does in conjure up an image? Or an emotional feeling? Does it tell you a story? This can be the piece as a whole, or a specific part or parts. What was your favorite part? What was your least favorite part? Do you have any comments or critiques on technique, e.g. harmony, melody writing, counterpoint, orchestration, voice-leading, etc.? How do you feel about the overall form? Is it effective? How well do you think the euphonium and saxophone are integrated with the rest of the orchestra? How do you feel about the harmony in the B theme recap (the nondiatonic chords against the melody in the clarinet)? Is it effective? Do you have any comments of the quality of the performance in the audio file? I really want this to be a decent representation of how the piece would sound if it were performed live, since it is unlikely it ever will be. Feel free to put your "conductor hat" on and critique the "orchestra". I have included a score and welcome any constructive feedback on its presentation. And if you're like me it's a lot more fun to follow along with the score. Are there any composers this reminds you of, that I might enjoy listening to? Sound libraries: Spitfire Symphonic Orchestra and Spitfire Percussion VSL – Eb clarinet, Bass clarinet (in the intro only), Alto sax, Bassoon (for the solo only), Bb Trumpet (for the solos only, and some reinforcement in louder sections), Euphonium, Piano Thanks for listening, I hope you enjoy! If you liked something I did and want me to explain how I did it, feel free to ask as well. -gmm
    1 point
  48. Hey all, this is kind of a dream pop/rock sort of song I wrote. Let me know what you think and cheers
    1 point
×
×
  • Create New...