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Showing content with the highest reputation since 03/20/2021 in all areas

  1. 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
    4 points
  2. Sometime, my teacher called something I wrote "abstract music" because it was not written with instrumental voices in mind, but rather as a compositional exercise(in counterpoint). Having no better term at hand, I tried to express that your composition is abstract from the guitar and its playing style(what I also called "unidiomatic"). I also partially listened to your Soliloquy No. 33 for Violin and felt like it was certainly playable on violin, but did not make use of its special techniques. I am no violinist, of course, so I am inclined to trust your experience as a cellist. Maybe a few not
    3 points
  3. This is something I think about a lot. If you aren't making physical copies of your music, I think you really should. Not just in burning CDs or whatever, but also in notation (and MIDI) so that the music can be re-created in the future if you lose the recordings. It has been noted in the 21st Century, that future generations will likely have no photographs of us, because no one develops physical photographs anymore. Facebook and Instagram are already no longer the monolithic media platforms they once were, as "alternative" platforms like Gab, Bit Chute, etc. are seeing record growth
    3 points
  4. Hi! First post with my new account. I posted a few little ditties here around 6 years ago, but someone ripped me a new asshole and decided to take some rest. I see Luderart and Austenite are still here. ... Anyway as an introduction, I'd like to share one of my most cherished compositions, my Symphony. This was my first original orchestral work (i.e. not an arrangement). I wrote this in one month in 2019, even though some basic ideas date from many years before. It was an agonic month, since I could barely think about anything else. I've refined the orchestration a bit since t
    2 points
  5. The piece starts off with an introduction before breaking off into a fugue with a highly chromatic subject. This piece was an experimentation in contrapuntal writing, tension and rhythm. Any feedback would be highly appreciated!
    2 points
  6. ???? The piece is generally well-constructed, but to me it feels maybe a bit busy? There's obviously imitation and everything but it very much feels like a piece that was written to fulfill certain criteria. In other words, the middle section's texture is a little too consistent for me. Varying it up I think would help a lot and allow for more distant relationships of the mode to be explored. Just my opinion.
    2 points
  7. The music of Castlevania has long been an inspiration to me, and I think in this tune I really channeled that energy. Hope you guys like it!
    2 points
  8. Hi everyone! I finally completed my scherzo for the String orchestra in A Minor, op. 5. It was commissioned to be performed by my school's string ensemble in a community concert, where the proceeds will be donated to a children's foundation for kids in need. The maximum stipulated duration for the piece was 3 minute 30 seconds (hence the short nature of the piece) and it follows an A-B-B'-A' structure. It uses an overarching melodic motif omnipresent throughout the piece with numerous rhythmic motifs along the way. Feel free to provide some feedback! Scherzo for the String Orchestra, Op.
    2 points
  9. Thanks so much for the kind words! Yep there is the heavy Beethoven influence in the piece, and I decided to add the hints of chromatism and distant modulations to add my own flair to the piece. Unfortunately, due to the time constraints I was not able to add a coda, which I had really wanted to do. I think I may add one in another version that won't be performed. Thank you so much! Yea I can see the possible use for film! Yep I believe in the ability of my school's string ensemble! Yep, I will be more than willing to share the recording of this when it is completed! Thank you
    2 points
  10. I'm just looking to tap into your opinions to broaden by musical tastes and experience. 1. Who are your top 3 composers of all time? Provide one example of their work you feel embodies their greatness to you, a link is even better. 2. Who is one composer you feel is incredibly underrated? Likewise provide one example of their work and if possible a link. 3. Who is one composer you feel is terribly overrated and why? 4. What original piece of yours do you think is your best work? Provide a link and I will listen to it (no longer than 10 minutes) and comment on it (I guar
    2 points
  11. A superb piece. A little Beethovenesque but very well constructed and rendered. The instrumentation is excellent and the articulations are dead-on! Your school string ensemble must be pretty elite if they can cope with it. I hope they can and that you get a chance to record it. You're going to have a lot of fun at rehearsals!
    2 points
  12. Hello everyone, here I am presenting you another composition of mine. This one I finished a few years ago as part of my academic studies. It is a typical variation cycle. The goal was to practice putting thematic material in different context, as you will hear. I hope you enjoy the video too.
    2 points
  13. Here is an original composition dedicated to the recently departed Chick Corea, with the title being an homage to his famous "Crystal Silence"...
    2 points
  14. A melancholic violin tune! Suggestions and critique are welcome!
    2 points
  15. Hi everyone! This is the second in a series of piano waltz’s I’m working on. This is the only one I have completed so far, although I’m sure I will make some changes. I started composing this on Tuesday and finished it on Friday. It begins in G major, modulates to Eb major in the middle and then ends in G major. Within the G major sections, there are also modulations to the the relative minor occasionally. Also, this is a recording of me playing it, so the cuts in it are from me editing out stutters, so you can fully understand what the piece is supposed to sound like. I apologize for t
    2 points
  16. Fourth Movement of Beethoven's String Quartet no. 4 in C minor
    2 points
  17. Yes, exactly. Striving for maximum consonance is not always the best artistic goal. A C7b9 in third position might sound "ugly" in isolation, but in context, like resolving to an F6add9, it can be beautiful. A balance of dissonance and consonance is, in my opinion, important.
    2 points
  18. I just compose music that I myself would enjoy listening.
    2 points
  19. Hello everyone! I started studying some orchestration (which is being quite an overwhelming task :S) so I decided to arrange and orchestrate an old piece of mine, a minuet in G major for piano. The piece was quite simple so I though it would be a nice start for practicing orchestration. The original minuet was a little bit unconventional because of the number of measures and the accompaniment's simple texture, so it is probably not a good example of a minuet composition. I leave a link to the original post of the piano version at the end of this post, in case somebody wants to compare bot
    2 points
  20. You don't have to have everything playing all the time except in a full tutti. It's through the selection of the instruments that you achieve contrasts. Woodwinds are a colourful resource and best to treat them like that. a) use the colour when you need it b) they're good for doubling other parts to reinforce the sound; c) combine them to create new timbres, taking care because some don't go well together. The best tip anyone can give about traditional orchestration is - study the scores of composers you like or feel would help with your development. Beethoven is full of excellent lesson
    2 points
  21. Well, this is my second week of the waltz challenge, it is pretty late because engineering is sucking mylife out and I dont have much time to compose :c. With this one I tried to get out of my comfort zone, I used extended harmony,some basic counterpoint and writting mostly in major which are some of the things that Im bad at. Hope you like it, any feedback is welcome.
    2 points
  22. Ciaonna in c major for trio. Audio file arranged for two recorders, two oboe, strings and bc. The Ciaconna form offers a compositional outline for variation, decoration, figuration and melodic invention over a ostinao bassline. Please tell me what you think SimenN
    2 points
  23. This is an unfinished work, I post this because I have no inspiration for what is to come after the climax part around second 40. Any suggestions / feedback would be highly regarded and appreciated.
    2 points
  24. the only Buddhist composer I know is John Cage and he sucks
    2 points
  25. I love it. I absolutely love it. I am consistently amazed at the quality of your music, and this Adagio is no exception. The way you put this piece together is really something special, the balance between proportion, emotion, and musical inventiveness is just perfect. I've listened to this piece about 5 times now, and I'll listen to it 100 times more! Count yourself as one of the top composers on this site! In general, my favorite part was the first B theme section. I'm in love with it all: the melody, the textures, and harmonies were just gloriously used, especially at bars 52-55. It
    2 points
  26. Yeah I suppose that's the problem. It seems like most people that come here post a piece they'd like a review on, but don't review many other's works. I'll do my best to be a hype man for future comps
    2 points
  27. I said it was supposed to convey a foggy night, maybe it should be called a fogturne.
    1 point
  28. This made me laugh But is that a bad thing? I guess it depends on what you're going for. Is does sound like that to me, but with a floaty harmony it's hard not to unless there were more changes in texture. If you're looking for ideas, maybe a bit more contrast would help with development? Or perhaps a more obvious motif in your melody? Something to catch the ear away from the chords? I found myself listening to the harmony and I felt like the melody could get buried underneath. Dunno, it's cool as is, but your comment made me feel like you were going for different vibes. Eith
    1 point
  29. Yeah what? Shouldn't he be categorized as an "intermediate composer"?
    1 point
  30. No, in fact I'm trying to get a more modern sound in the harmonies while still not having it be too dissonant as the most dissonant movement comes after it. When the Bass Clarinet and English Horn along with other instruments come in in later movements, it will be more obvious that I'm working with a modern orchestra rather than a classical orchestra. Yes. Holst was the main inspiration for this piece and some movements like Mercury, Jupiter, and Saturn have similarities to the same movements in Holst, and others like Venus and Mars are opposite that of Holst in my suite. For Mercury,
    1 point
  31. This is the part 4 ofSound of Queanbeyan.
    1 point
  32. Thank you! Yep I understand the concern! I do think that it is not high enough to make the fingers hit the bow, I just tried it with my violin and it wasn't impossible. But I definitely agree that the effect may not be as noticeable in that range, I think for the sul tasto sections in upper registers I will alter it for future drafts! Hmm yea I get your point, and definitely this movement I am still very unsure on the title to give this piece in particular, especially given the whole tone nature and I can't really pinpoint on what effect specifically I am going for as
    1 point
  33. Not sure how you're going to bring off the cello double stop in bar 2. If the low G# is tied, you'd be crossing a string to get to the A#. Did you mean to tie the D? It certainly has atmosphere but more ominous to me, the music you'd expect to find backing a Hammer Horror film with someone nervously exploring a crypt or set of untidy corridors. Where are you from? GCSE suggests the UK.
    1 point
  34. I like it. got a nice cheerful feeling to it. At times it feels a little unbalanced (the lead around 2 mins in sounds a little too loud, for me) other than that- perfect. It's a good work, seems to fit well in this category. @VovaTrykoz
    1 point
  35. Hello, Welcome to the forum! I hope you'll enjoy sharing your music and hearing others'. Although the forum might be mainly focused on classical composition, we're still open to other ideas! I do like this piece, although perhaps it works better as ambient background music than for 'active' listening. My main comment/criticism is that is feels almost a little too slow-burning. This is a feature of the style that you write in, but I think a greater climax could be reached. On a similar vein, perhaps you could explore the upper- and lowermost notes on the piano. More bass espec
    1 point
  36. I agree with @PeterthePapercomPoser The role of the guitar would be played better by a non polyphonic instrument. Writing for the guitar is super difficult.
    1 point
  37. Hi. I would love to hear any feedback on a piece I made, I can't decide if I like it or not. I don't really know music theory so I'd appreciate simpler pointers if you have any to offer. Thanks!
    1 point
  38. I really like the harmony in this piece. Using modal mixture feels very fresh and unique. My favourite part is m9-14. I think it conveys nocturne for me very well. m8 & m38-39 feel too surprising to me. I think they detract from the mood that you carefully built up. I'd feel more comfortable with these if they were developed more in later/earlier sections. I like that m8's idea reappears in m23-24, but they feel too far apart. Overall I like it, hearing this after midnight really got me in the mood 🙂
    1 point
  39. Thank you for your feedback! Thanks to you, I also listened to some new music for me. Yes, this is my recording. The piece itself was made quite a long time ago. I was just beginning to understand something about making music. So here, harmonically, everything is quite simple. Thank you again for your comment! I really appreciate it.
    1 point
  40. And thank you for answering! I'll look into possible expansions with the relative minor and such, but all in all I'm quite happy with it being short and I'm not very good at coming back to compositions to revise them. I can see the important similarities with stravinsky's op 4, although my harmony is much less adventurous than his (hence my confusion as to what style it fits into). I've listened to your Ab etude and I find it quite impressive since I have a hard time composing with extended tonality.
    1 point
  41. Hi everyone, Here is something I composed a few weeks ago, audio (computer-generated) and pdf included. I'm new to this forum and this is my first post ; I chose for it something I'm quite happy with, but not the best of my compositions. The reason for that is that I plan to record those myself and, since I tend to write extremely uncomfortable pieces for the hands, that will take quite a bit of time. I hope you'll excuse the bad sound and lack of interpretation. Anyway, it sounds remarkably good for a musescore audio file. I didn't know at first what to call it, but when my pi
    1 point
  42. Very elegant! It's a lot like when romantic composers dabble in baroque forms, producing very interesting results. I like it. I just wish it had some more diverse dynamics than just mf-f, but perhaps you were planning on adding more later? Anyway, nice piece! I enjoyed it very much!
    1 point
  43. Here the link: Galoppo I hope you like it.
    1 point
  44. This is really cool. If this was merely an experiment with octatonic scales I would say it is a success. One thing that jumped out to my ear: in the second bar you use a lot of parallel fifths (see below). One of the special things about the octatonic scale is all of the rich harmonies you can create with all of the third's available. Having this many fifths in a row makes it sound a little stale, at least to me. What you might consider is raising the second violin by a scale degree so it moves in thirds with the first. You also might consider having the viola and cello play a
    1 point
  45. I'd agree this could be extended, but if your aim was for short and sweet then maybe a little variation in texture would work well. Perhaps a less is more type thing. Maybe some rests in the left hand, or have some parts in the right as just single notes. Or if you like the melody as is, how about changing the intervals in some spots? Overall very enjoyable though, I'm hoping to hear more from you soon!
    1 point
  46. this is my new piece in minimal style, hope you like it, you can give me some suggestion if you like. the video: https://www.bilibili.com/video/BV1Zv411h7ZN/
    1 point
  47. It starts very ordinary but soon grows into quite an expressive and nostalgic piece! It's very curious that despite the fact that it's major I feel like this is a sad piece. I feel like it loses some steam at around the 2 minute mark where you start just playing chords in preparation of returning to the main theme. I think this is one of those pieces where it wasn't so very important to end in the same key that you started so you could have recapitulated the main theme in a higher key, giving it a sort of burst of emotion when the new key comes in (although now that I listen again I can hea
    1 point
  48. Hi. I've been a busy bee for the past 8 years since I last posted here on YC. I have a publisher now - Woo Hoo! - and I've had several works recorded, published, and marketed through them. This is a work that I plan to submit for publication in next year's release. My writing is geared specifically to middle and high school concert band programs in the United States. But enough about that. "Appalachian Heart" is a work I wrote for my mother. She's an equestrian - someone who rides, raises, and cares for horses - who dedicated her whole life to raising hers and ensuring they found go
    1 point
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