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  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. 5 points
    The suite's finally up! A lot of movements have been posted here already, but it is a different experience all the way through (if I do say so myself 🙂). Movements 3 and 5 have not been uploaded here before if you want to skip to those, though. Enjoy!
  3. 5 points
    Here is a little impromptu I wrote a few weeks ago. What do you think ?
  4. 5 points
    Hi all, I've not posted anything here for quite a while, been busy with other things, but I've also been working to finish my first fully orchestrated piano concerto. The first movement was posted here about a year ago, but the second and third movements are new. The first movement has also been edited and hopefully improved as I added a short cadenza that I felt was missing from the first movement, as well as changing the odd passage here and there. Anyway, I'm pretty pleased with the final edit. As always, any comments are welcome and gratefully received.
  5. 4 points
    I don't know why more people don't want to do competitions, you're GUARANTEED peer review and a bigger platform to share your music. I'm open to any ideas, I'm thinking solo piano or something similar and simple. Let me know if you're interested and in about a week we'll see who wants to participate and what theme we should use etc. etc. If there are obvious skill differences then we could break it up into groups, but come on people let's get a good group together and see what we all come up with.
  6. 4 points
    Here is my piece for the Secret Santa event. I finished it. And very quickly too. EDIT: @Left Unexplained said that I had to include the topic that I got as well as my piece, so here is the topic I got:
  7. 4 points
    Here was my topic for the Secret Santa event: "I'll keep this topic simple -and fairly abstract. One of the things, in my music, that I often write about is life and death. So, the topic that I choose will be within this abstract area: life, mortality, death, rebirth, lessons learned in life, philosophy of life." Wasn't sure whether or not to include the author, so I'll abstain for now, but I hope you enjoy the piece... though it is admittedly very theoretical.
  8. 4 points
    Hello everyone, It has again been a while since I have posted anything, and I have a new piece to show you all: the Fantasy-Variations in G-sharp minor. This piece was written in 2020. The theme is based on an aria from the 1967 opera "Grigory Melekhov" by the composer Ivan Dzerzhinsky. Ivan Dzerzhinsky (1909-1978) was a Soviet composer and pianist, best known for his operas and popular songs. His most famous work is the 1935 opera "Quietly Flows the Don" (based on the novel of the same name by writer Mikhail Sholokhov), which was a success at its premiere, and which launched Dzerzhinsky's career as a composer. He continued writing operas over the next several decades, including "Virgin Soil Upturned" (from which the duet "The Cossack Song" has since become popular among Russian ensembles), "Fate of a Man", and of course, "Grigory Melekhov" (also based on Sholokhov's novel). Aside from operas and vocal works, he also composed piano concertos and piano suites. His music usually is quite traditional and accessible, many pieces bearing similarities to Mussorgsky and even Puccini. With the exception of "The Cossack Song", his works receive very few performances today, and they are almost entirely within Russia. Furthermore, he has been labeled a "hack" by musicologists for his musical style, and for his status within the Soviet Union. I wrote this piece because I thought Dzerzhinsky's melody was too beautiful to be forgotten, and I wanted to make it available to other people, as well as to add something new to it; this is not meant to be a political piece. All that said, I hope you all enjoy the piece. 🙂 Also, for those of you who are interested, here is the original theme:
  9. 4 points
    The second movement of my piano suite. It'll be released as a full piece in about a week or so, but this is my second favorite movement in and of itself! I know it's based off of some prime form I was working off of, but I don't remember what it is now 😅
  10. 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.
  11. 4 points
    I see. Then you obviously do not require our feedback here. Good luck
  12. 4 points
    "Marcia Funebre" for Piano Here a little funeral march that proably I will generate a more developed pice from it: Marcia Funebre (3).mp3 Marcia Funebre.pdf Open for suggestion and feedback! ADVICE! The dynimic notation is still not finished.
  13. 4 points
    I don't know how much music history you've studied up to this point, but this whole notion of material-based originality came from the genesis of the Romantic era, where the advancement of middle-class music making along with the general advancement of music printing/publishing combined. Composers started using super fancy/exotic-sounding titles and used increased harmonic changes to be more expressive and have their pick at the newly free market. I'll elaborate on my own opinions/answer more of the proposed questions if this discussion gets more lively, but I'm more a fan of the way the Classical era dealt with originality, where quality was based upon how well you could use old forms and conventions in your own style/ways. It doesn't sound very modern to us because it was their styles, but Haydn's and Beethoven's music were pretty novel when they were written. The modern era has taken this Romantic ideal of expression and newness to its extreme, trying to push progress without having the patience for it. The elitism and high-artness of modern classical music generally glosses over the music most people will listen to; how subtle its changes are to formulas, but how effectively catchy the songs are. Maybe my thoughts on this will change over time.
  14. 4 points
    Some short pieces. Six Piano Pieces.pdf 01 Aeolian (Winds).mp3 02 The Hummingbird's Phrygian Flight.mp3 03 Quick Diminished Changes.mp3 04 Can We Be Friends.mp3 05 Longing Worlds.mp3 06 Gemini II.mp3
  15. 4 points
    Hi all, So, I've been away from this site for a few years - long enough that I find it has changed and my profile is completely empty! It's time to change that. In February, I had the opportunity to perform a recital of my own works, this trio among them. My colleagues and I decided afterwards that it would be worth the trouble to do a house recording of it. This is the result. My personal musical preferences lie squarely in the conservative German branch of the 19th century, and I've always believed that a composer should write the sort of music he or she likes to hear. That's what you can expect from this trio with respect to form, harmony, rhythm, and so forth. It's in four movements. The first movement is a traditional sonata-allegro with slow introduction. The second movement is a scherzo and trio. The third is a theme and variations, based on a melody I wrote when I was 13 or 14 (side note - NEVER throw away the ideas you compose when you're young!) The fourth movement is rondo-like arch form. I hope you enjoy listening to it as much as we enjoyed performing it! I have decided against posting the score. I hate to have to take this stance, but as an essentially unknown composer, I am deeply reluctant to post my scores to an internet site that is open to the world when I know colleagues who have been victimized by thieves stealing their works and claiming them as their own. Even with a legally copyrighted work, it is stressful, time-consuming, and expensive to take these people to court. I apologize to those who would have liked to see it.
  16. 4 points
    Lately we talked about destruction of music, etc... Well, I did this piece.
  17. 4 points
    Thanks for taking the time to listen, Willibald - I'm glad you enjoyed it. Regarding the composer competition, I certainly agree with you. I've seldom found much enjoyment in listening to mid to late 20th-century art music. The peculiar thing is that the general market is not actually especially interested in academic music. There's interest among performers and composers, but the vast majority of concert-goers would prefer listening to a Brahms, Bach, or Mozart over a Boulez, Babbitt, or Cage, for instance. Modern composers are often quite removed from this market, partly because it is incredibly difficult to gain a foothold against the established repertoire, and partly because there simply isn't enough demand for classical music to allow most composers to make a living of it. Thus, they pursue it as a hobby in the way that Ives did, while earning their living doing something else. I think what's really at play here is that most post-secondary composition instructors of the past couple of generations grew up in the academic climate of the 50s through 70s - an era that was marked by a striking intolerance for utilizing stylistic elements from past eras in an effort to advance music in the same way that all other fields were advancing - and they push their students to continue this tradition. Most composers are intelligent people, and they pride themselves on this intelligence. They do not want to be regarded as unoriginal, nor as individuals incapable of handling the complexities of highly advanced modern music. Those who did dare write more traditional music (Barber, for instance) often received scathing criticism from the proponents of the new style, and students who were not lucky enough to have an open-minded professor at school were likewise scolded for their lack of originality. This peer pressure can be extremely persuasive, and in my opinion is the primary reason that avant garde styles came to dominate the art music world. Unfortunately, this played a significant role in killing off demand for serious art music (which was seen as necessary by many of the chief proponents of the avant garde movement). The effects are still very much present to this day. A few years ago when I was checking in here more regularly, I remember seeing numerous examples of composers in this forum posting nicely written music in traditional styles who were admonished that they should be "finding a fresh, original voice" rather than imitating styles of the past. Invariably, these detractors were modernists, and ironically, their music was seldom any more creative or original than the composers they scorned - they were just imitating a somewhat more recent style of music. The idea they persisted in advancing - that one MUST employ the tools of the modern era in order for his or her music to be relevant to the modern era - always struck me as deeply flawed. If older musical styles are no longer relevant, why do we still listen to and adore them? Why are they still, to this day, more popular among the concert-going public than modern art music styles? The argument only makes sense if one feels that the primary purpose of music is to advance and evolve. All that said, it also makes no sense to me that anyone would claim the world would be better off had avant garde music never been explored. There are some musicians who genuinely believe that this is the most beautiful and expressive music in the world, and they should not be scorned for it. There are also many who find a real sense of fascination and intellectual fulfillment in the process of writing in serialist, aleatoric, and other avant garde styles. I actually think that for many of them, that is of much more importance and relevance than the resulting sound. And there can be no denying that such music is a greater communicator of certain emotions than the tonal system could be. I suppose, in a nutshell, that I wish people would stop trying to pressure each other into writing in their own preferred style. Write what you enjoy - not what you're told you should write. Unless, of course, you make a living writing music for other people, in which case what you write should probably be something they want to hear. :-)
  18. 4 points
    Instructor: @Monarcheon Students: max. 10 Expectations: Composers will learn about music from the contemporary/modern period, analyze it deeply, and will write music in this style. This should span over about a month and composition assignments will be used. Week 1: Bartok - form Week 2: Webern - interval set/vectors Week 3: Messiaen - rhythms/time Week 4: Cage - intro to musical philosophy AKA "real theory" Special Notes: This is our first test long-form masterclass... structured to be more like an actual class. It's a test because I don't know how many people will be interested/care. Let me know if you're interested in the comments.
  19. 4 points
    Hello, I started to write music in 2006. In 2011 received an international award for music for couple of short films. I write almost film and theatre music as well as music for listening. Here is a track from upcoming album "Excitatus". Hope you'll enjoy :)
  20. 3 points
    Hello everyone! I've been away from the forum for a couple of weeks, we all know times have been crazy... However, I had finished my Sextet for Winds and Piano some time ago, and wanted to share it here. As always, feedback is extremely appreciated. Thank you for listening 🙂
  21. 3 points
    MOD NOTE: This thread was originally locked with posts removed insofar as they became or led to inciting remarks for further review from me and OP. I will admit that this was a hasty decision and I don’t wish to set a precedent of merely halting conversation upon the first sight of danger, though comments that are primarily inflammatory in nature quickly become irrelevant and are socially unwelcome. I want to be clear that my actions were not intended to silence opinions, but quell the heated argument; in this case, my attempts to make peace overstepped and failed. This thread is now reopened as the previous discussion was good, and while I deeply apologize to those involved that I cannot replicate the removed comments, I do hope the conversation can continue as it was, civilly and thoughtfully.
  22. 3 points
    Hello! Here is my submission for the Secret Santa composing event organized by @Jean Szulc and @Left Unexplained. It's titled "Left Unspoken," it's scored for piano trio, and it was inspired by my Secret Santa topic: the word mamihlapinatapei, from @TheCluelessClariney. In their own words: My piece comes in fairly short at just under 4:00. It is structured as a simple A-B-A format, with one more contemporary-sounding section sandwiched between two more CPE-sounding sections. I hope the theme comes across in the interplay between the violin and cello, particularly at the end. Made with MuseScore 3. As always, all criticisms and suggestions are welcome. Thanks for listening. 🙂
  23. 3 points
    Hi, Here a Waltz I wrote last week. Because of the mood I named just Spring Waltz. It's written for a late classical period orchestra: 1Piccolo, 2Flutes, 2Oboes, 2Bb Clarinets, 2Bassoons, 4Horns & Strings. I added also Glockenspiel and Vibraphone, because I like its percussive effect when doubling the winds. I think the style is also of the period. I appreciate your feedback.
  24. 3 points
    The title says it all: a few days after posting this fugue I seeked for and found some parallels, so I corrected them. I wasn't sure whether I should repost (which I'm doing right now) or simply let them slide past my mind. But I recently realised they were too obvious, which might be the reason why no one has replied since I posted the fugue. Also, I changed the instrument in the soundfont I'm currently using for the computer to play what is supposed to be a Reed Organ, despite I don't think the timbre is comparable to the real instrument, I guess it sounds nice. So it might sound like it's played by some sort of unspecified wind instrument. Hope everyone, quarantined or not, are safe and resisting the devastating effects of this epidemic so far.
  25. 3 points
    I guess the fact that you're asking for help with your music, but not showing anything of what you actually composed but some schemes you made, sums up the situation. This is very present in most of your pieces, you come up with some thorough explanations for every note you put on the page, but sometimes leave the "emotional" aspect of music composition to the side. Yes, you have an expressive goal with most your pieces, but you always seem to approach them as in a "let's see what reminds me of that in other people's music", followed by "I'll stirr all of that" fashion, if it makes any sense. It's not because you've identified those characteristics in other pieces that they will be of any use for you. As cliché as it might sound, try creating your own storm, without seeking into people's music for the tickboxes you have to fill.
  26. 3 points
    Hello everyone I would like to share this new melody. If you have time, please give me your opinion and advice. Thanks ! 🙂
  27. 3 points
    Hi, here a classic bagatelle. I wrote the main theme some years ago and arranged it for piano in this quarantine days. I appreciate your feedback.
  28. 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.
  29. 3 points
    Here the first 47 bars of the first movement of my first symphony! Allegro.mp3 Open for feedback and suggestions!
  30. 3 points
    A little jazz piece... Hope you like it. (Trumpet in concert pitch).
  31. 3 points
    Fanfare for My Brother Score.pdf In a passing conversation, Dr. Thurman had told me about how he was selecting repertoire for orchestra brass literature that included euphonium. This topic has always been a “thorn in the side” for euphoniumists worldwide especially for me as a compsoer. Although I knew they would probably never be played, I would write orchestra music with euphonium in college hoping one day the orchestra world would fall in love with instrument. Reflecting on that “pain”, I told Dr. Thurman I was going to rework a piece specifically just for him to conduct and called his own. I reached in my vault and throughly revised a piece originally called “Water to Wine” to “Fanfare for My Brother” to show my gratitude to someone who truly is my “Brother from another mother.” Here's from a read-through recorded on the phone.
  32. 3 points
    Concerto per violino, archi e bass continuo in b minor "Paradiso e inferno". written 20.06.19 - 25.06.19. Been some time since i wrote a concerto, so here is my summer contribution. Three part concerto written in the late italian school. I. Allegro - paradiso: 4/4 time, livly tempo and fugures, high in the register of the violin (Heaven it is!), the triumph key of d major. II. Adagio - cadere dalla grazia (fall from grace) 4/4 time. slow pace, rethorical use of rets, b, minor III. Vivace - inferno, 4/4 time, fast pace, slaming fugres, chromatic downward passages (going down to hell), b minor Please tell me what you think SimenN
  33. 3 points
    I think the best word to describe my music is "neo-romantic." I write music that I feel is easy and pleasing to listen to - not necessarily 'light music' but not avant-garde. My style is not so similar to Romantic composers as to be reminiscent of any one, rather in a review I received here I was told that: "One minute I'm hearing Mendelssohn's influence, the next a little Tchaikovsky." I believe it was @J. Lee Graham who said that, a composer who is obviously also a traditional tonalist. My biggest works are largely Romantic. There are some minor 20th century inflections that I add, such as an unusual modulation or chord choice. I also like to utilise new instruments such as the Contraforte, or ones which slipped into obscurity during the Romantic period such as the alto trombone. NB: The alto trombone is a wonderful addition to the orchestral brass section. Listen to many orchestral pieces from the Classical era, including Beethoven's symphonies to hear it in action. In chamber works however, there is a larger scope of influence, especially from the music of Scotland, where I live. Classical pieces that I have written include sections with common Scottish musical ideas, and a string sextet that I am writing has the finale as a harmonised Strathspey dance. In the age of the internet and globalisation, we have a huge range of musical influences from throughout the world. Ethnomusicology is a growing area of study, and we composers have the freedom to write whatever we want, whether from orchestras with oboes and strings, or for ensembles with sitar, gamelan and electronics. What we should never forget is the universal language of music. Atonality has become common and respected, and this poses the risk of us tonalists being forgotten or actively disregarded. The worst thing that I could hear is not an experimentalist piece by Stockhausen. It's not a calculated serialist sonata. It's just four words: "Find your own voice." Who has the right to dictate anyone's compositional style?
  34. 3 points
    Hello, everyone. It's been a while since I last posted anything, and I finally have a new piece for you all to listen to: the Fantasia in F-sharp minor. I consider this piece to be my most ambitious work for piano, and also my most personal work. It is also my now-longest composition, lasting roughly 32 minutes in length. The Fantasia is in 3 movements: Movement 1. - Ballade: Moderato serioso (F-sharp minor) Movement 2. - Barcarolle: Andante (F-sharp major) Movement 3. - Finale - Tempest: Moderato - Allegro appassionato - Maestoso (F-sharp minor-major) Here are my performances of the movements on Youtube: I hope you all enjoy. 🙂 Theo
  35. 3 points
    Jesus, man, how much are you paying for this?
  36. 3 points
    Composition completed on 10/28/2015 You also can watch this piece here -
  37. 3 points
    The difficulty is that when trying to be original, you have no control over what your contemporaries are doing. Ideas don't appear out of a vacuum. We are all the products of our cumulative experiences. So it's very likely that the same influences that nudge you towards writing a certain kind of music are acting on other composers in the same way. There are a LOT of people on the planet at this point in history, and it ends up being a numbers game. And today we live in a globally connected world. We don't have the comfort of long periods of musical isolation from the neighboring cathedral towns or royal courts while we gather our thoughts and develop our ideas. If you're working on it, someone else is going to hear about it. If someone else is working on it, it's hard to stop their ideas from leaking into your inner soundscape. We also have no control over what happens after us. Trying to strategize the best direction for your music now, in the context of music history two hundred years from now, is a pretty impossible task. If you've got the foresight to solve that one, can you please stop pursuing composing and sort out world peace instead? What seems original now may completely miss the boat for what ends up being significant. I say, just write what you like. One of the best predictors of being important to the direction of music in your time is to write enough music to get good, and to get good enough to be performed, filed away in music libraries, and passed around to other musicians so you can influence other people. If you hate what you are writing, you won't be able to stick around long enough to get good. You'll quit before you get started. So compose music that you find moving, don't quit to spend your free time watching TV, and if you are very lucky, you may stumble on something original enough to move the gears of progress a notch.
  38. 3 points
    This is a great discussion point - and one that I think the world of composition needs. There is no secret that I am a tonal composer. It's just the music I enjoy writing and listening to. As a composer, whichever combination of tones you use will create something that is unique to you, whether is be 5, 7, 8, or 12. Provided you are not copying a piece directly, then it is original enough. The biggest problem comes from exposure. Why would a (paying) audience go to see a symphony by an unknown composer which sounded Classical, rather than their favourite Mozart one. Here lies the problem with originality - performances. Bottom line, if you want to write tonally, do it. It's still original. However atonal music is more likely to be performed, which brings me to the next point. I, as a composer, want to write music that I enjoy. If someone tells you what style of music you should write, then that will ruin the enjoyment of music for you. This is the problem with conservatoires, who tend to only accept people with an avant-garde style which they consider to be more original. Not to attack John Cage, but silence? Seriously!? Disclaimer: I mean no disrespect to atonal/avant-garde composers. You are all equally skilled and creative. I just personally don't like the style. If even one other person besides me listens to my music and enjoys it, then I feel like I have succeeded in a way. I would like to get my music performed but composition isn't my main pursuit in music so I don't mind as much. New music ensembles tend to only want to perform avant-garde pieces, and traditional orchestras generally do not accept pieces from budding composers. As a composer, I want to reach out to other musicians and show them what I have worked on. You could say I am trying to "revolutionise music" because I want to show the world that tonal composers still flourish, even though they are looked down on by competitions and festivals. I thought about this a few months ago. I love the works of the greats from the last few centuries. It appeals strongly to me, because my ear - as most ears do - perceives it as right. Tonal music is designed to be pleasant - but that doesn't mean it is limited to what most non musicians think classical music is. Take two birds sitting on a branch. One sings tonally, the other races rats over a finish line and sings the notes in the order that they place. Which one will get a mate? The ear - our ear, an ant's ear, a bird's ear - likes the harmonic relationship between the frequencies of a tonal scale. My style, as I have said before, is tonal, but I like to experiment with the changing harmonies caused by a chromatic movement. Listen to this simply beautiful piece by Grieg. I didn't play it for a while, because from looking at the score I could see it had a lot of chromaticism. But it is still tonal, and this is what I try to write. I don't count myself as a pastiche of Grieg, because I draw my style from another source. Scotland has a rich traditional music heritage, and if you listen carefully to some of my most recent music (not posted here yet) you can hear the influences from playing fiddle in a school folk band. I even write specific Scottish traditional pieces to play in the group, although that is not the main part of my output. My style? Tonal×Accidentals×Scottish Music Music is so subjective. Thanks for sticking with me, it's my longest post ever.
  39. 3 points
    Hi all! I'm new here, and I really wish I'd discovered this community much sooner! I love classical music but, as a violist, my largest complaint has been the lack of stirring, cinematic viola concerti. Well, what's a composer to do? So here's my stab at a full-length viola concerto. I've named it Yfirsést (pronounced ih-ver-syest), the Icelandic word for "overlooked," and an all-too common feeling among violists. This is the first movement, and it resounds with the struggle of overcoming mediocrity and being seen for what you are. (I couldn't tell you what composer it sounds like, because to me, it sounds like me. 🙂) I appreciate your feedback, and especially taking the time to listen! I'll upload the second and third movements (along with the scores for all 3) later.
  40. 3 points
    Put it in your "Ideas" folder and keep it for later. Actually I don't have any "ideas" folder because most of the time I just title ideas as... "idea". But my compositions folders are organized according to the period of creation (by period I mean... new level in musical development, last time I opened a new folder was after the first time an orchestra performed my piece) so they look that way: but you might consider creating an "ideas" folder. When I can't come up with a new thing I just look for a project named "idea" and start from there.
  41. 3 points
    First of all, great that you want to learn to compose! I can share my composing advice. When I started to compose, which is circa 2,5 years ago, I did not know anything about music theory. I did play saxophone and I learnt to play keyboard. So, I was familiar with reading notes and chords, but harmony, form, counterpoint etc. were terms I never had heard of. To be clear: my first compositions were garbage, but I am so glad that I wrote them. Every 'mistake' you make, will help you with composing the next piece. Experience and doing it is the key. I started to imitate and copy Mozart's first minuets so that I became familiar with standard forms and harmony. Furthermore, I listened to all kinds of music. Since you say that you already have some knowledge of theory, I think you should just start composing. When you do not like the result, do not delete it, but look why you do not like it and what you could change so that you will like it. Good luck!
  42. 3 points
    Little fantasy adventure piece I never posted. I hope you guys enjoy it!
  43. 3 points
    Hi everyone! I just released my debut piano album on 25th of October, so it´s still very fresh. It contains 10 of my original compositions and 1 re-make of an 80´s pop song which I´ve made on a request of the artist himself. Please take a listen to the full album here and let me know how you like it! If anyone would be interested, you can buy the album here: https://oliverbohovic.bandcamp.com/album/ballerina
  44. 3 points
  45. 3 points
    Hi, I'm a composer student from Spain. I would like to present my composition for my own video. I'm in a project to create videos and music during my year in Helsinki. Im not hapy at all about the quality of the sound, but anyway, this is my video:
  46. 3 points
    When I visit a member's profile, it would be nice, I think, to see a list of links to that person's music, that is, to pieces previously posted on this site.
  47. 3 points
    A short piece for solo piano, basically a variation of the same theme in 2 parts, separated by the change of dynamics.
  48. 3 points
    Greetings YC Family! It's been a long time since I made a post and visited the forum. For those of you who may recognize me, you know that I was once an administrator on this site. My years on here have aided me in my ventures within the past decade. One of these ventures was the setup and creation of an online radio station devoted solely to promoting the works of new and emerging composers. This post, thus, serves two purposes: 1. To promote Et Lux Radio and encourage each and everyone of you to listen to the music of your peers as it is broadcast 24/7. and... 2. Make a formal call for live, or rendered, recordings of your works along with a signed affidavit giving Et Lux Radio permission to include the works within its broadcast. Submitted recordings need to be downloadable and in .mp3 format. They can be for any instrumentation and must be under 25 mins in length. Please include in your submission a brief biography and any related program notes for your works. Submissions can be emailed to jaowoodr@gmail.com! Thanks and I look forward to hearing your works!
  49. 3 points
    This is what happens when you have to write daily pieces and you get bored with writing crap. I'm quite proud of this work, even though it may not be conventional in any sense of the word. I hope you enjoy this one!
  50. 3 points
    I have had the good fortune to live on Central Park in New York for six years. I’ve had the place all to myself in the winter and have had to share it with tourists in the summer. It has many points of interest, such that each are singular and need no colorful qualification. There is The Lake, The Pond, The Meer and The Beach (yes, the park has a real beach). The Sheep Meadow, The Bridal Path, The Boathouse, and so on. One of each. And the Carousel. That too, unique, except for the children who are always the same at five years old. Their mothers bring them here to go around on the wooden horses as the motor cranks up and up and up and the jangly circus music begins, and all the many little hearts that beat so fast in their fearless joy … I wanted to share this little vignette with you. Sorry, no score, but I can give you the instrumentation. 2 clarinets, 1 bassoon, 1 Horn in F, Bb trumpet, piano, harp, glockenspiel and strings.
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