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Showing content with the highest reputation since 07/05/2020 in all areas

  1. 4 points
    Good afternoon everyone! I'm fairly new to the forum, so I thought I would share something I wrote to introduce myself. I wrote this piece last year and finished around November, but just now decided to make a score so I could share it with you all. I'm interested in any and all feedback, as long as it's constructive. It is a rather long piece, so I included an outline if you would like to listen in "chunks". I used what you might call an "abbreviated sonata form": There is an Introduction, an Exposition stating two themes, an abbreviated Recapitulation of both themes, and a Resolution. (i.e. there is no development section) The outline is as follows: Introduction (0:00 - 5:13) Ominous opening, built around an ostinato figure (0:00 - 2:13) Lyrical theme (2:13 - 4:17) Return of ostinato figure, transition to exposition (4:17 - 5:13) A Theme of Exposition, somewhat manic and bombastic (5:13 - 7:09) B Theme of Exposition, pastoral yet deeply emotional (7:09 - 10:42) Brief transition to Recap of Exposition (10:42 - 11:21) Recap of A Theme, abbreviated (11:21 - 12:48) Recap of B Theme, abbreviated (12:48 - 15:07) Brief transition to Resolution (15:07 - 15:48) Resolution/Coda (15:48 - 19:21) As you listen, there are a few specific things I would be interested in your impression of: What is your favorite part? What is your least favorite part? While I have included a score and would certainly appreciate feedback on its appearance, I'm mostly concerned with feedback on technique, structure, orchestration, etc. How do you feel about the overall form? Does it work well? I am a former brass player, and know relatively little about string playing. Is my string writing convincing? What could be improved? What overall effect does the piece have on you? Does it create a certain image? Does it bring out a certain feeling? Anything else that jumps out at you. While I'm mostly happy with the way this piece turned out, there is certainly room for improvement. There are a lot of things I really like about it, but if I'm being real honest with myself I think the overall form falls a little flat, due to the lack of a development section. I dunno, maybe I'm too hard on myself, what do you guys think? Thanks for listening, and I hope you enjoy! If you have any questions about anything I did, feel free to ask and I will explain to the best of my ability. gmm New Piece for Orchestra.pdfNew Piece for Orchestra.mp3
  2. 4 points
    Here my new Choral work for voice, strings and organ. It has no lyrics yet, but it definitely has to be for some religious purpose. I think it is a very solemn, optimistic and bright piece. Any comments are wellcome (I also appreciate suggestions for the lyrics 🙂).
  3. 4 points
    The kind of issues you've all expressed will easily work themselves out as long as we keep Leftist hands out of "the orchestra." It's human nature to forgive and even provide cover to "the aggrieved." But then we are easily fooled. And so we watch as they destroy our institutions one by one. Maybe it is the Boy Scouts, or the "school" or the freakin' New York Times. Maybe you don't have kids so killing the boy scouts is not a big deal. Likewise the New York Times, which is now a former newspaper. But eventually they get around to destroying something you really do care about. Once the Left gets its hooks into something, it's over. Because it never is about the grievance anyway, it is always about power and "The Shakedown." Unfortunately, those whose whole world is centered around classical music may cave in to demand after demand. THAT will make your dollars dry up faster than anything. But if classical music remains a healthy, un-political organism then modern music still has a good chance, I think. https://www.nytimes.com/2020/07/16/arts/music/blind-auditions-orchestras-race.html
  4. 3 points
    Here my new piece for Flute, Harp and Strings. In the repetitions of the main theme I did some orchestration variations: Exposition Melody: Flute Countermelody: Violin II Quavers accompaniment: Harp Repetition Melody: Cellos (1 octave down) Contermelody: Flute Semiquaver triplet accompaniment: Violin II Reexposition after de contrasting section Melody: Violin I Countermelody: Violin II Semiquaver triplet accompaniment: Harp Also in the repetition of the closing theme I did some similar arrangement variations. I particularly like how expressive cellos sound in the high register when playing the melody. The idea of the semiquaver triplet accompaniment come from Wagner,s Tannhäuser Overture (Violins play semiquaver triplets as accopaniment texture, while brass plays the melody). Any comments are wellcome.
  5. 3 points
    A short and rather incomplete lullaby for my baby daughter.
  6. 3 points
    all of them were hans zimmer about himself
  7. 2 points
    What exactly does "important" mean? Some local teachers or composers or something? If all these guys do is dump on your music it sounds like you need to hang out with different people. You sound like a pretty young guy so here's some advice from a guy whose (a few) years older than you: if you spend time around people who ultimately just drag you down, you need to cut those people out of your life. You shouldn't waste any time trying to impress people who would rather tear you down than build you up. It may be hard, because you may think these people are your friends, but I promise there are better people out there. I wish I had learned that a lot sooner than I did. FWIW here's my reaction to Ivan's music: And here's my reaction to that "Plastic Trio": Sounds like you've had it pretty rough lately. Take some time for yourself, you'll be back stronger than ever before you know it.
  8. 2 points
    Here's my entry. It took a lot longer to notate than I thought, but I've written about 1.5 minutes.
  9. 2 points
  10. 2 points
    At the end I will probably not participate because I'm having an emotional crisis after doing really bad with exams and my grandfather probably dying soon. Have fun.
  11. 2 points
    Hello, fellow composers! This is my first topic and first submission for a review of one of my compositions and I'm very excited to share this with you. I work with pen and paper, using a piano for the most part, and only in the later stages of each section of sketchwork do I continue refining the sketches through the Dorico interface. I usually expect to record this with professional musicians in some way or another, so I never spend any time fiddling with the digital performance of the work, to be honest. Because of this, the performance is decidedly robotic, but it still manages to give you an idea of the work as a whole, and I'm sure that your ear and imagination are good enough to be able to realise what it could sound like if it were performed by real, living musicians. (The audio attached is produced by Dorico running NotePerformer 3.) This work was recorded in January 2020 for Signum Classics with Kerenza Peacock (violin) and Huw Watkins (piano) at the Britten Studio in Snape Maltings. Sadly, I can't yet share the audios from that session, since the album will be released in March 2021 for the label's catalogue. Sonata for violin and piano in F major, R. 6 I. Adagio — Allegro assai II. Andante sostenuto III. Allegro con fuoco IV. Adagio ed intimo In my next posts I hope to share work with you that is still in progress so that any input from you will definitely have more weight than at this later stage in the work's life. Oh, I almost forgot! If you're interested in having a score to follow, or if I'm lucky enough that you'd like to perform this work in a recital or concert, please send me a message and I will happily oblige. Wishing you all the best, Rodrigo Ruiz
  12. 2 points
    Schoenberg isn't music, it's numerology. That's why it's not popular. Beethoven endures because Beethoven wrote good music that was rooted in the tradition. The common practice period was an outgrowth of what came before; not some totally new invention that defied all that came before it like serialism and all other manner of modernism do. The entire point of Shoenberg, like all modernism and atonalism, is to reject hierarchy in favor of "equality", generally as a political statement. However, there is no good art without discrimination and hierarchy. For example, dissonance is only beautiful within a hierarchy of consonance. "Music" like Shoenberg differs from Beethoven on this crucial axiom: The latter's music is born of techniques rooted directly in the listening experience, whereas the former's is rooted in subversive, pseudo-intellectualism. Such systems, which are present in all atonalism, are ultimately a dead end. You say for example that Shoenberg's music is "a thing to be dissected". This has never been the point of art and music throughout human history until the 20th-Century subversives like Kandinsky came along to mask their low ability. The point of creating art or music is an attempt to rival the beauty of nature herself. The Fjords of Norway and Hohenzollern Castle are alike in that they have stood for ages, and their beauty is still revered; it is self-evident across time. There is no need to "dissect" or "explain" what it all "means'. To gaze upon it beauty, and the mastery of craft it took to create it, is an uplifting experience in and of itself. These abstract conceptualists who insist that art and music are actually about or at least better when we can play some trite game to figure out what the artist is "saying" — which, as a funny note: These people say music is "subjective" in quality, but apparently it can convey the artist's intent objectively despite this — and that the "meaning" is what it's all really about, don't seem to realize that they could get their message across a whole let more effectively and clearly if they just wrote it down.
  13. 2 points
    Tried my hand at @Ivan1791's challenge just for fun and whipped up something quickly. I think it's pretty fun! The justification for the last variation is that each beat in the right hand uses (0148) which is the "dissonant" chord's pitch class set. Enjoy!
  14. 2 points
    Very nice! Reminds me of the Strauss Burlesk, both for its quirky harmonies and for its acrobatic timpani part (which is probably a little too acrobatic here). A few notes: The bombastic main theme is repeated a few too many times, and all the tuttis have a "sameness" about them that only adds to the problem. It feels like the same 8 or so measures are being repeated with only an occasional break in between. A Scherzo (or Minuet) usually includes a contrasting Trio section, but I never get that sense of contrast here, because the B section is interrupted too many times by a bombastic tutti that either is or sounds just like the main theme. The third is missing from the final F chord in the main theme (m. 12, for example). I don't know if this is by accident or by design, but I suspect the former. Ideally, the grace notes on p. 10 should be eighths and sixteenths (instead of quarters and eighths). The woodwind sectional arpeggiation on p. 16 is very difficult to pull off in performance, and likely to be ineffective as a result. Maybe have just one instrument (clarinet, for instance) playing an upward arpeggio, and the other instruments starting on each beat (instead of each half-beat). The Horn 2 in m. 11 is playing a D when the other instruments are playing a Db. That said, I really like this piece. The orchestration especially is very well done. Good work, and thanks for sharing!
  15. 2 points
    Hey @Quinn, if you could export your piece as an MP3 file along with a PDF score and send those to me via direct message, that'd be ideal. I'll post each submission anonymously from my account once the deadline passes for the purposes of member voting, and I'll share the submissions (not anonymously) among the judges at that point.
  16. 2 points
    Well, I got 4 / 6 of the people who were insulted, but 0 / 6 of the people who were doing the insulting. That's a win in my book. Thanks @bkho, this was fun
  17. 2 points
    Here are the answers: 1. "A dull fellow who composes the same form over and over." - A Russian about an Italian Stravinsky referring to Vivaldi (there's another supposed quote of him deriding Vivaldi for composing the same piece 500 times but that is likely apocryphal) 2. "I have played over the music of that scoundrel. What a giftless bastard!" - A Russian about a German Tchaikovsky referring to Brahms. Tchaikovsky was quite jealous of Brahms' fame though in their one documented meeting, they actually got along quite well. 3. "The prospect of having to sit through one of his extended symphonies or piano concertos tends quite frankly to depress me. All those notes.... to what end?" - An American about a Russian Copeland referring to Rachmanioff. 4. "A composer for one right hand." - A German about a Pole Wagner referring to Chopin 5. "His music sounds like Bach on the wrong notes." - A Russian on another Russian Prokofiev referring to Stravinsky 6. "He would have been a great composer if his teacher spanked him enough on his backside." - A German about an Italian Beethoven referring to Rossini Thanks!
  18. 2 points
    Heya I've only been taking theory for a year, so I can't provide anything technical, but I really enjoy listening to this piece. 🙂
  19. 2 points
    A match ensues between a Gladiator and his opponent! There are weapons strewn throughout the arena. It is a fight to the death - if only the odds were in favor of anybody surviving... This is a piece sparingly scored for full orchestra. Once again I apologize for the quality of the non-stereo mp3. Thanks for listening and I would appreciate any comments you might have. Am I posting this in the right forum? It's not exactly incidental music. I wrote the description to this piece after I had already finished it. Since I don't have a score, I'm also including the midi file (thanks to chopin for fixing issues I've had with including the midi file in my posts) 😃AGladiatorEntersTheRing.mid
  20. 2 points
    Most composers today who say they can't read music actual can, just not very well or it's just not the main way they do things. But to say Hans Zimmer and Danny Elfman can't read music is not entirely accurate, nor does it logically make sense considering their need to collaborate with notation-literate musicians and editors and publishers and copyright lawyers on daily basis. if you walked up to them and thrust a musical score in their hands, they won't find it an unintelligible mass of blobs. They're more than capable of identifying notes on sheet music. That's just not their main method of composing, usually. You might appreciate this video I found of Paul McCartney actually diving into his compositional process using a computer for his classical music. He too, can read music, he understands exactly what different pitches and chords are and what they sound like, but that's just their most natural and expedient method of creation. I can read piano rolls, I can read DAW timelines--but I'm slow at it and find it inefficient, for me. A composer should know as many information mediums as possible.
  21. 2 points
    This piece is only made using chords. This is just an experiment. feedback expected.BTW Inspired from chopins e minor prelude.(op 28 no 4) https://flat.io/score/5ecfa73218c179027f492cdd-warning-cursed-audio
  22. 1 point
    HI all, I wrote these two little pieces.
  23. 1 point
    Hi guys and gals, I wrote this piece and have been trying to get some feedback. What would you identify as the weaker areas of the composition/production?
  24. 1 point
    Out of curiosity, what school were you trying to apply for? And I second @gmm's gifs.
  25. 1 point
    Here another choral piece for SATB Voice, 3Trombone, Strings and Organ (Lyrics still pending).
  26. 1 point
    Maybe you're not in the right head space to submit a piece, sorry to hear of your loss. However, I've experienced a different type of loss with this pandemic, and it lead me back to this site and writing a piece in Sibelius for the first time in a few years. Just remember time heals all wounds, and I look forward to your return. What was once a great void in my life has turned to a fire I'm eager to share with you all. See you soon
  27. 1 point
    Hey I've got nothing much to add except for I thought it was a natural and beautiful melody, and I loved the 32nd flourishes in the piano. 🙂
  28. 1 point
    Yes, looks like you're right. 14th Aug. It's been changed a few times. I'm used to working to deadlines; will submit to PRS for a timestamp tomorrow! I recalled something about Aug 1st so....ready.
  29. 1 point
    Really good work. I really like the way you blended the different colors of the ensemble. I've always shied away from writing for concert band because I've never been able to blend the vastly different voices very well, but you do a really good job here. I also like the variety of different modes you use. I think what might take it to the next level would be to try to use some more daring chords within these modal contexts. For example, at the beginning it looks like you use C lydian dominant for the first phrase or so. A chord that sounds really cool (at least to me) in lydian dominant is the one below: As I try to play the opening melody over this, I don't know that I'm too crazy about this particular chord here, but what I'm trying to say is some more "exotic" chords might add some extra harmonic flavor to the modes that you use. I like the way you used the piano to accentuate the harmony (arpeggios at m. 55) and to add color to melodic voices (m. 135 and m. 147) , but there are a couple spots that come across as a little "chamber music-ey" and I'm not sure if it was your intention - The chordal background in m.82 is an example. I also think the piano would not be heard over the high trumpets and snare/timpani rolls in m.73. In general you do a good job of this (brass chords at m. 116 is a really cool example), but I think it's a little overt in the brass at m.139. These arpegiatted chords kind of come out of nowhere to me; maybe if you used an "in 4" version of one of your melodies it would be more effective. Lastly, I felt a little overwhelmed by all of the cymbal crashes and bass drum hits at the end. Maybe if you cut these out in m.187-190 it would let the woodwinds play out a little more, and it would be more dramatic when they come back in with the brass. Thanks for sharing, will it be performed as part of the competition? If show please share the recording!
  30. 1 point
    I wish you had used some tempo changes or chords foreign to the key you're in to bring some more contrast to the music. Honestly, the melody sounds like you were just putting down notes. It would benefit your music much if you could whistle or sing the melody after you hear it. But that's just my opinion.
  31. 1 point
    Thank you so much for the insightful comment! Just one thing, I did not use samples to compose the piece they are free synth VSTs from Spitfire LABS and they do sound great. I did not know the piece by Micheal Nyman gonna give it a listen and maybe discover new music!
  32. 1 point
    There was supposed to be a soundcloud link in the OP but if it didn't come up for anyone else then here it is again. Not automatically embedded this time. https://soundcloud.com/wxo/recoil Hey everyone, I couldn't have imagined such a positive response to my music! Thanks for hearing and understanding my voice! It means a lot, especially coming from users here since the users in this site were my first ever mentors as a composer, and have never ever steered me away from what I like to write. You've made my day everybody 🙂
  33. 1 point
    I am not a counterpoint expert. but, at least initially, if you follows the rules set out by the likes of Bach you'll find yourself in a fantastic spot. Have you studied Chorales? they're a great part in being able to move your pieces forward as essentially any piece can be broken down to a chorale at it's simplest form. As such this will increase your harmonic ear. (which admittedly I need to broaden myself) But from what I've heard aside from some repetitiveness your counterpoint is technically correct. Of course there are stylistic changes you could make since it's very Bach like but that isnt a bad thing in the slightest. My knowledge on inventions is that they do use ternary form (A-B-A) but they change key somewhat freely at the end of a musical statement. this is where your chorales come into play. the theme may freely move between keys but for a B section you should firmly establish the key. usually by a V7 chord. this is a very classical way to do it which is more my area of expertise. Best of luck.
  34. 1 point
    It depends what you're writing. I'm in the process of writing my first piano trio. which involves sonata form for the first movement. So I have done a pretty detailed plan for that I want to happen. say, I will write the first theme, which will about 30-40 seconds long. then I will do long chain modulations to my second themes key which will last about ta minute and a half. then I write my second theme, which is another minute. then move back to my first key before repeating. even a very lose plan like that is better than none. because then you know what your going to do. You don't have to plan out exactly like "I'm going to start in C major then use I-V-IV-VI chords until I modulate using pivot chords to F major" because that would interfere with the general music you'd produce. study up on what forms use what. for example Etudes tend to be Ternary or a rondo. and are very compressed. sonata form has several large structures that are very deep requiring themes and Lengthy transitions between themes and long passing modulations. With your invention, take the initial theme break It down, sequence it. make it longer or cut it off at particular points., just things like that, study up on Bach and handle to better master that form. You've got fantastic potential and I can't wait to see what you produce!
  35. 1 point
    Hi Mitchell. The pattern you have for the piano in measure 63 and onward gives me Chrono Trigger vibes! (which if you're unfamiliar is a really cool RPG for the SNES) I love it! I love it when composers take their video game music or rock music inspiration and translate that into classical music which is something I think you've done here. I love how you build ostinato figures - the only thing I miss is smooth transitions between those ostinati and the sections of music that follow them (like at measure 105 you just stop the ostinato instead of somehow transitioning into the next section). I like your idea at the end of restating the introduction - I just think the ending should be at 152 so that the piano and strings end together. But that's just my opinion. I really enjoyed the voicings and harmonies you employ. Great job!
  36. 1 point
    Also the trumpet can play softer in it's lower range than in the highest. Usually, the higher you go on the trumpet, the more difficult it is to accomplish a soft attack.
  37. 1 point
    Thank you for your comment! I'll certainly work more on creating more dramaticism by more subtly orchestrating the tutti's. The sounds are indeed Note Performer. (I did tweak the panning of the instruments a bit)
  38. 1 point
    I'm sure a timbral effect was desired from the fast notes, but it comes off sounding strange, even for something in a pseudo-alankar style. Similarly, why the panning at the end? Just because? The setup with a double note motif in the beginning is an interesting idea that is interesting to the point that it makes subsequent passages feel irrelevant. The high register off-modal notes are my favorite part of this, and could be layered to help the tonic elaboration.
  39. 1 point
    Here's a cello piece I've been working on for a while. I still have a lot to learn when it comes to composing and mixing orchestral music so any feedback will be much appreciated! 😄
  40. 1 point
    I'm glad to see you liked the piece. I usually dislike most of my compositions. And I will try to use more modern orchestral settings just in case I can get one of my compositions played by a real group of people. I might compose other works with the old orquestral setting but for now I think it's better for me to get used to the kind of instruments used nowadays and how to fully exploit their potential. Because if I get a job composing I will almost for sure use a modern orquestra.
  41. 1 point
    On a second listen with this in mind, this makes sense. I also think the big minor chord before it sets up the slow section very well, and the contrast in the dynamics makes it feel very dramatic. Nice work! Hey, if you like writing in this style I say go for it. I don't believe in the idea that just because Mozart and Beethoven may be the "masters" of this style that we shouldn't continue to practice it. If it's a valuable art for, it should be kept alive.
  42. 1 point
    I like the dark (sometimes almost creepy especially near the end with the high tremolos) atmosphere you create here.
  43. 1 point
    I think the way you could lengthen your ideas is to repeat the whole previous section of music but change small things about it here and there or maybe change the octave in which your material is played (although that's sometimes easier said than done). Or you could also change which instruments play which melodic material you had originally. I know that's kind of a basic suggestion but I always do this in my music and it works for me. Hopefully it's helpful. 😃
  44. 1 point
    Thank you. I think it sounds similar to a cluster chord too. I've never noted a cluster chord like this before. I like the idea of woodwinds at the end. I was thinking; staccato oboe with a layered alto flute.
  45. 1 point
    I don't know if I would call this a piece. I think it is a really great chord progression
  46. 1 point
    Beethoven, to me at least, is the undisputed master in this; taking even the most banal melody or harmonic progression and transforming it in such profound ways. His variations in C minor and the 2nd movement from his seventh symphony are particularly good examples of this.
  47. 1 point
    I had been thinking we could set up some sort of small "label", or something that would give our pieces of music a life of their own besides here in the forum. Perhaps we could get some institutions (universities, etc.) to back this up and se if we can create a small net of composers, one that spams beyond the forum, and that can create a few oportunities career-wise.
  48. 1 point
    This is a fabulous effort. Many of your ideas are consistent with classical schemas and, even though there are obvious direct influences with Mozart, your application of such ideas is well considered. Monarchean has rightly pointed out that some of your harmonies could be less static. You have the chords right in most places, although there is a lack of harmonic fluidity and indeed character, the latter of which is something one will develop with further practice. Thanks for sharing and I hope to hear some more of your stuff soon!
  49. 1 point
    Instead of trying to work on harmonic patterns, why don't you really work on a motive with other directions, such more melodic (more than it's included in the harmonic direction)? You can also try to include "surprises" or innovate in different ways. Other than that, you just need to go out, listen the people you like/admire, being played or improvising, etc... Sometimes even changing music and listen simple music can bring you new ideas.
  50. 1 point
    Since this section has been a little slow, I thought I'd repost the completed movements of my requiem. I'm almost done with the first part (Introitus and Sequentia), just needing to finish the Recordare (part VI) which I've been a little stuck. I've been making minor revisions to the other movements. I've been working on this off and on for quite a long time, since college, though more in earnest over the past couple years so it is a bit of a microcosm of my development as a composer. It initially was heavily inspired by Mozart's Requiem (I plan to setting the same text as his including the Sussmayr completion) but I've also drawn inspiration and influence from many other Classical and Romantic settings. When I get a chance, I'll post the scores as well. Any thoughts welcome!
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