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I composed this short guitar trio (for Flute, Bassoon and Guitar) within the past couple of days. It's a Siciliana in a sort of modern take on a quasi-Renaissance piece for quasi-Lute and winds. Thanks to @Thatguy v2.0 for checking over this piece for tablature mistakes/impracticalities. I'll definitely be consulting with him in all my future guitar pieces! I wrote this to be a kind of study/etude in hammer-ons and pull-offs (special guitar techniques). There are also some slides but I didn't notate those because of some wacky glissando effect that Musescore 4 performs with that marking. Also, I tried to get a better sounding Acoustic Guitar VST (since Muse Sounds doesn't have a guitar patch yet), but the one I downloaded didn't work with MS4 so this is MS Basic. Thanks for listening and I'd appreciate any of your constructive comments, suggestions or critiques! Edit: Thanks to @Henry Ng Tsz Kiu for informing me about the Siciliana! I've updated the title, and also added some reverb to the guitar part (I realized that Muse Sounds had some FX I could download including Reverb and Chorusing).

So I was thinking of starting a topic featuring some favorite pieces by fellow contemporary composers from Young Composers Forum! You can create your own categories for this one like I have or just do a general Top 10 (or less or more) favorite pieces from any category. I haven't included any choir or vocal pieces here since I don't often listen to those. Only rule is, please refrain from listing your own music! LoL Orchestra: “New Piece for Orchestra” by @gmm https://www.youngcomposers.com/t40035/new-piece-for-orchestra/ “Scherzo for Orchestra” by @gmm https://www.youngcomposers.com/t40676/scherzo-for-orchestra/ “Call to hunt” (scherzo) by @DirkH https://www.youngcomposers.com/t40073/call-to-hunt-scherzo/ “Crown of Thorns” by @Left Unexplained https://www.youngcomposers.com/t41648/crown-of-thorns/ “Suite of Minimalism” - 2. Amongst the Ocean on a Speedy Sailboat by @Eickso https://www.youngcomposers.com/t41574/suite-of-minimalism/ "Crisis in the City for Coloratura and Orchestra" by @Quinn https://www.youngcomposers.com/t40614/crisis-in-the-city-for-coloratura-and-orchestra/ Solo Instrument with Accompaniment: “Flight of the Fledgling” by @Left Unexplained https://www.youngcomposers.com/t40343/flight-of-the-fledgling/ “A Dreams End” by @Thatguy v2.0 https://www.youngcomposers.com/t40341/a-dreams-end/ "Piano Concerto No.2 in Bb minor" (Mvt.2) by @Mark101 https://www.youngcomposers.com/t43329/piano-concerto-no2-in-bb-minor/ “Bassoon Concerto No. 2” (Mvt. 1) by @Leonardo C. Núñez https://www.youngcomposers.com/t40340/bassoon-concerto-no-2/ “Inevitable End - piano and strings” by @ClasiCompose https://www.youngcomposers.com/t42985/inevitable-end-piano-and-strings/ Chamber: “Piano Quartet No. 2, Op.10, Mvt. 2” by @Theodore Servin https://www.youngcomposers.com/t38945/piano-quartet-no-2-op-10-mvt-2/ “My string sextet. Trying to marry contemporary-ish music with classical forms” (my favorite is the 4th movement) by @Snake_Cake https://www.youngcomposers.com/t42286/my-string-sextet-trying-to-marry-contemporary-ish-music-with-classical-forms/ Solo Piano/Keyboard: “Allegretto in G minor for Organ” by @bkho https://www.youngcomposers.com/t39911/allegretto-in-g-minor-for-organ/ “Sleepless Nights - A Berceuse” by @ComposedBySam https://www.youngcomposers.com/t43204/sleepless-nights-a-berceuse/ "Study based on How High The Moon" by @Quinn https://www.youngcomposers.com/t42448/study-based-on-how-high-the-moon/ "Impromptu-Scherzando for piano" by @panta rei https://www.youngcomposers.com/t38575/impromptu-scherzando-for-piano/ This is by no means an exhaustive list for each category but what I just happened to remember right now and from recent activity (although I did do a brief search for works I forgot from a while ago). I reserve the right to update my list at any time! LoL

Welcome to my first ever masterclass! Before we begin, it's important to state what this course will NOT be: This course will not present any rules or regulations This course will not provide any sort of magical formulae for the successful creation of contrapuntal technique This course will not frown upon any violation of perceived common practice rules With that out of the way. Let's get into some basics. Counterpoint is the foundation of the western musical tradition. Long before the rise of the Baroque theorists, the Mannheim School, and -of course- the Classical era, music focused solely on a horizontal development of ideas that -today- provide the basis of contrapuntalism. Modern takes of counterpoint -while often ridiculed for purposefully bucking CP tradition- pulls directly from this long tradition with its incorporation of traditional contrapuntal techniques. Motif (or Cell) are the building blocks of most modern contrapuntal techniques. For those that don't know, a motif can be a small piece of musical material that can be developed throughout a composition or compositional section. For the purposes of this masterclass, we will be discussing motifs in the simplest sense of the word. Leitmotifs will not be discussed. Cells are -for the most- motivic in nature but usually within a much larger texture. Thus, we will not be looking at cellular development UNLESS the associated cellular texture is contrapuntal in nature. Texture is a generic term that can be applied to the vertical and horizontal construction of any given musical line. We tend to view texture more in terms of the vertical scaffolding in multi-voice works (orchestral, chamber, choral, etc.) However, we can also look at texture in horizontal terms in looking at the combination of contours seen within different contrapuntal voices. A good example of this type of texture can be seen in Beethoven's Grosses Fugue where jagged contrapuntal lines are juxtaposed with other types of counterpoint. We will go more into this topic later. Perceived (Implied) Harmony is the development of a proxy harmonic center where such center does not obviously exist. Within my usage of modern counterpoint this is an essential aspect of the craft. This can be achieved thru individual 'cadential' passages or the centering of contrapuntal material on a specific pitch. We will go more into detail on this topic and will also develop material that fulfils this. Form is the last of terms that will crop up from time to time within this masterclass. Contrary to popular belief, modern music is heavily reliant on form. From the construction of a serial row to the structuring of large-scale works, form dominates every aspect of our craft. It's important to understand this intense intimate relationship within music. Modern counterpoint should be rich in formalism -no note should be made without some thought put into its place within the overall structure of the passage or piece. While there are no rules, the closest thing we have to a rule is form. ------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------ This concludes the first part of this masterclass. These classes will be updated weekly with new material. For the next class, I'd like students to compose a short melody of any type. Try to keep the themes no more than eight bars in length. At this time, we're not going to look at harmony or harmonic progression -so you are encouraged to venture out of the box! You may attach your material to this post. I'll review the entries and select three examples to utilize within the next class.

Hello everyone, This is my new recent/short composition for the orchrestra. I posted this on the reddit page and received amazing feedback. I would like to have some more general opinions in case I could further synthesize and finalize my score. Score Video Score (Pages 14 and 20 do cut out at the bottom) Here are some general concerns: Is the Orchrestration good and balanced? Are the Harmonies functional/pleasant?(received some advice on this one) Is the Melody Strong and Memorable?(Quite a few mixed opinions) Thank you again and happy new year to all.

Lovely melody and mood! I like it. I love the section around 1:20 when the melody moves to low strings. I actually agree with Peter. Adding harp for me will diminish the depressing sound and add some hope in it. I think an all bowed strings sound will be even better. That's so true! we just have to make sure we are just alone, not lonely though. Henry

I love the really intriguing melody in this and the great rhythmic variety. The oom-pahs you introduce at 1:09 remind me of Danny Elfman for some reason. I could have sworn that there was some place in this piece where you introduced more counterpoint with woodwinds, but maybe that was another version? Thanks for sharing!

It is really nice how one core idea and three instruments are enough for this colourful and joyous piece.The ending, however, is really surprising, as the voices don't follow usual cadential formulas. Bassizans in the flute, the bassoon probably some sort of cantizans, and the guitar an altizans. The penultimate chord is the dominant of a minor (?), jumping right into A Major. That's witty and adds a bit of Renaissance flair, but works only because flute and bassoon provide the necessary duration of the final chord which otherwise wouldn't be heard as final (I assume) because of the voice leading. Regarding 12/8 and 9/8: I am not sure it really feels like a change in rhythm; overall, the 3/8-units provide the basic pattern. If you would notate it with 3/8, probably there wouldn't be much of a difference for most listeners. Thanks for sharing!

This is very true. A lot of your contemporary forms are just individual takes on binary form. However, form doesn't just definte the overall larger structure of a work. You also have microformal structures (melody, etc.). While many don't consider these formal in nature, many composers do imbue a formal structure to them. Mozart, for instance, often setup his melodies with novel means of defining the range of the melody and material itself within the first few beats of his melodies. This would be considered formal in nature. Be sure to submit your theme for review.

Lovely piece. I think it works perfectly. Guitar writing is quite different and difficult. Sometimes, I also tried because I played the guitar in my youth. The piece here is challenging although it can be much more complex if you want to use other parts of the neck and the "capo" (is this its name in English? Cejilla in Spanish). For that you have to master the guitar....

I really love this siciliana. I'm a classical guitar player and I've played a few of them, usually for solo guitar. The woodwinds are amazing, and your harmonies for giving it the characteristic light, dance mood is perfect. The guitar is one of the most difficult instruments to write for and you did an excellent piece. Amazing work!!!

Thanks! I thought of ending it this way because it was a nice ABABA and if I continued it again to another B it would start to get really long winded. Plus each statement of the A section ends on some kind of E chord so I thought it was a good opportunity for an authentic cadence to A. Thanks for bringing this to my attention! I have changed the name as well as updating the recording to include some reverb on the guitar part. Thanks for your review!

Lovely harmony used. Love your flat submediant usage. I guess this has a snowy scene in it, very refreshing to listen to. Henry

I really like this one, the modal qualities are cool. Don't be bashful, the writing for guitar was very good already before I had a chance to look at it, you should be proud of how intuitive this was. I'm continually impressed by how you're able to develop ideas so well. The last few pieces of yours really show your compositional skill, and your diversity in styles is superb. Anyone wanting to get better at composition, especially in developing themes, should really take note of your most current music. Great job!

Happy new year sorry I took it down cuz it was so cynical lol. happy 23, soon we'll die in anarchy, enjoy the moments while you can, soon canned foods won't seem so bad so whistle the christmas song, as you build your bunker strong sooo many christmas presents, but dammit grandma I cant defend myself with socks the end is nigh and the story is about us, simplify your life move your couch and tell us.

This is awesome, and you know I'm a fan of everything you write. We should, you know, collab

LOL this song is so ironic and cynical! Love it.

That's the quietest work I've auditioned here. Left Unexplained, are you trying to beat John Cage by not even leaving a score or turning up? 😆 And bye-the-bye, happy 2023 to you too!

Oh look like the link is broken or something? Don't find anything here now...

I don't know how I passed this up the first time I heard it. It's very beautiful and sad - it even sounds like John Williams some of the time. Great job!

The melancholy sound is relaxing and at the same time haunting. You did great pulling this off. The introduction of the strings compliments the atmosphere. I hope you expand on this type of music. This is my type of music.

nice video! I found cool music for videos on maxkomusic recently. There are vaious genres on every taste and all music is available for download for free. So convy. I use many music from this site for my YouTube videos, but without monetization on YouTube. If I need monetization I can purchase a license for this type of music.

Really lovely