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Showing most liked content since 03/26/2017 in all areas

  1. 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.
  2. 3 points
    This prelude was inspired by an autumn walk. Any kind of criticism is welcome! Prelude 1 Op.2.mp3
  3. 3 points
    A short piece for solo piano, basically a variation of the same theme in 2 parts, separated by the change of dynamics.
  4. 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!
  5. 3 points
    I could also write about some of our history, which could be quite interesting. We'd need to get a few of our old guard members on board to help though.
  6. 3 points
    This is Wildflowers, one of my original compositions! Thanks for checking it out, feel free to comment questions or feedback. :)
  7. 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!
  8. 3 points
    This piece was supposed to be an introit or "requiem" movement to a requiem I was writing until I realized I hate writing with established formats (i.e. symphony, sonata, etc.) so this piece remains as is. As such, the final buildup was planned to up an octave and take two phrases instead of one to descend the second time through, but I never wrote a "second time through" so what's here is what's here. Enjoy!
  9. 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.
  10. 2 points
    A cold winter night, an old steam train is pressing forward through the cloudy fog surrounded by tall dark trees. Inside is filled with tall suspicious figures. This scene depicts the introduction to a murder mystery.
  11. 2 points
    Six Dances for Wind Quintet -Polka -Minuet -Valse Lente -Siciliano -Landler -Tarantella
  12. 2 points
    This a short piece I recently finished after digging up an old theme. As the name implies, it is strongly influenced by Schubert's famous Moment Musical in F minor as well and is structured similarly though I wonder if it is too influenced by the Schubert's work. I kind of got lazy with the ending, I hope to come up with a better one. Score is attached but as always, is a little rough.
  13. 2 points
    The sound quality is good, but the synth sounds and some of the piano sound a bit off from one another. I didn't see much variation, it almost seems like the same chord progression. The later sounds that added to the track were a warm welcome and came in great. I just think if you change up the chords a bit it'll be even better.
  14. 2 points
    An app for something like this might be overkill, however I certainly would endorse it if someone took the initiative to create one. I've tried a forum called "Find a Composer" but the forum never seemed to take off. As @luderart said, if someone wants to create a thread in one of the forums, such as the Composers' Headquarters, feel free to do so. And if that thread really takes off and is something popular, we can consider opening a new forum then.
  15. 2 points
    Hey people, This one is only a short track but I was trying to match the setting of a busy airport. Im not too sure how effective it is because I've listened to it way too much and cant really tell anymore haha but I would love your feedback :) Cheers guys
  16. 2 points
    https://musescore.com/user/12518851/scores/4742266 The first movement is in the other uploaded works (called "Forewarning"). All feedback is appreciated!
  17. 2 points
    This piece reflects the following story: A young woman living in a 19th Century French town finds, while exploring her family home attic, music manuscripts composed by her great-great grandfather, from northern Germany, who composed in the baroque style of his time and place. One of his two-part preludes was unfinished! The woman set out to finish the piece, trying very hard to keep to the same baroque style. But alas, her time and place shone through, and the second part of the prelude, written by her, turns out to be a romantic piece written in counterpoint. I hope you like it! :)
  18. 2 points
    I experience lulls in composing quite a bit. Generally what I do is revisit an older work and try to work on that for a bit. I also listen to a lot of music and try to see if something I hear could work well, even copying it directly to my work and then reworking it in to something more original. When I am really stuck, I'll completely switch gears and find that re-arranging a popular tune or writing a set of variations can sometimes jumpstart the creative process.
  19. 2 points
    You and the Rain, for strings orchestra. A piece I wrote in 1 day, having a cold, being unable to go outside, waiting for my girlfriend to come to see me, while raining outside... Never have written so fast before, definitely she makes the difference.
  20. 2 points
    Hello everybody! I just finished my Piano Concerto No.1 ''Octaves'' in f minor. The Concerto consists of only one movement: Allegro con brio. The music is, of course, written for piano and string orchestra. The goal for me to write this piano concerto was to learn more about how to write for piano and how to write in a more classical, early romantic style. Note that I added some more contemporary elements as well. The concerto is in free Sonata Form: Exposition - Exposition repetition with piano (classical) || Development (many more modern elements) || Recapitulation without the second theme. I ommited the second theme in the recapitulation, because I felt like this theme was already 'mentioned' too frequently. Furtheremore, ending with the first theme sounds fine to me. What do you think about the music? Particularly the development? *The lay-out of the score still has to be done. Piano_Concerto_No.1_''Octaves''.mp3 Maarten
  21. 2 points
    You can’t train for perfect pitch although there are people who claim to have trained and got it later in life.You can however train and get very good relative pitch which is almost as good.
  22. 2 points
    Hello everybody, Would it not be fantastic if Young Composers had its own special Magazine composed by the creative members of the forum? Since a few weeks I have been thinking about this idea. I already made a few magazines with the free program called Jilster (https://www.jilster.com/). The advantage of this program is that I (as a chief editor) can give specific pages to other people so that many people can work on one single magazine. The program is very ergonomic: I learned the things I needed to know in one hour of experimenting. Because the idea is still quite vage, I decided to schelude the magazine. This link leads you to the magazine in which you can see the topics I would like to include. https://jil.st/YoungComposersMagazinePreview Before I begin to write for this magazine, I would like to know if you would appreciate it. Could it be an valuable addition to the forum?I would also like to know if some of you are interested to help me. If you want to write about a topic that is not mentioned in this megazine scheme, do not be disappointed. I can give you several pages on which you can write about what you want. Furthermore, if you are interested send me a private message. I am very enthousiast, but of course we all have to be! Please be honest. Maarten *I know that not everybody has all free time to spend on writing and laying out the articles (including me), so there will not be a deadline. It is something extra and it has no priority.
  23. 2 points
    Hello everyone, Thank you to all the entrants for your hard work in completing the Summer 2017 Competition! The judges -- Maarten Bauer and myself -- have also worked very hard since the submission deadline to provide you with helpful critiques and commentary. Detailed commentary will be posted below. Everyone should be proud of themselves for their good work. Without further ado, here are the final scores for the Summer 2017 Competition: - Monarcheon: (TIED FOR FIRST PLACE) Maarten Bauer: 40 / 50 Noah Brode: 44 / 50 TOTAL: 84 / 100 - Punintentional: (TIED FOR FIRST PLACE) Maarten Bauer: 40 / 50 Noah Brode: 44 / 50 TOTAL: 84 / 100 - Luis Hernandez: (THIRD PLACE) Maarten Bauer: 37 / 50 Noah Brode: 42 / 50 TOTAL: 79 / 100 - Gustav Johnson: (FOURTH PLACE) Maarten Bauer: 35 / 50 Noah Brode: 40 / 50 TOTAL: 75 / 100 - luderart: (FIFTH PLACE) Maarten Bauer: 32 / 50 Noah Brode: 35 / 50 TOTAL: 67 / 100
  24. 2 points
    Hello, I composed this little piece in response to a challenge on the forum to write for a combination of two instruments based on your birthday date. At the same time, I used this piece for an exercise, I gave myself: write a piece in less than 15 minutes. My combination was the Violin and the Horn (in F). I tried to keep the atmosphere very light, yet interesting. The music has to be funny, because it is a 'birthday song,' so therefore the Allegro scherzando and no very heavy harmonies. Sharing your thoughts is very appreciated! Maarten
  25. 2 points
    Congratulations @Monarcheon and @punintentional! All other participants very well done too!
  26. 2 points
    Hi :D Here i've got something with athmosphere of virgin valley. I wanted to has it as a short intro, like exploration suite in the game. Some kind of stronger ambient, but the main target was to achieve emotional aura and feeling of this beautiful land. I'm very interesting about your opinion with this super-easy short arrangement, melody and harmony. :) Hope You like it! >> Youtube - Primeval Valley <<
  27. 2 points
    I would contact one of the organizers. Small percussion instruments can include cymbals, woodblocks, tambourine, and more.
  28. 2 points
    Thanks for the reminder, I have it in mind, just staying on hold in case I get a better inspiration.
  29. 2 points
    Hey people would love some feedback on this track :) please criticize the crap out of it if you want - anything is welcome. Thanks guys, your input has shaped my composing more than i can express and I appreciate and value every word of it.
  30. 2 points
    Thanks @Maarten Bauer it's funny and I like the variation of @MusicianXX12, waiting for more. I'll do another one some of these days, but now that I have my new computer ready and all my files have been recovered I'll be working this weekend on the article for the Magazine....
  31. 2 points
    Hi peeps, Recently started composing again. Forgot that I even had an account on here from nearly 10 years ago, I feel old. Been trying to put together a sound for a film I'm working on at the moment. It's set mainly in the Australian bush, so I'm trying to go for a very raw, exposed sound. I've put up just one example. I've listened to it so much lately, it would be nice to get some second opinions. Please be as harsh as you like. Still trying to find "my sound"... Thanks!
  32. 2 points
    I was randomly bored, and an idea came out of nowhere to my mind. A collaboration of multi-genres! The idea is, every composer taking part will create a small composition that fits with the theme of the full composition. The combination of different genres might not always sound like a decent idea, but it can work. And with the skills of the composers in this forum it can work very well.. but we encounter an issue which is the difference of tools used.. Therefore, lots of mixing and editing will have to go into this (I can do that, unless anyone feels they're more capable.. I'm not the best at it), it won't be an easy project unless we want some crappy result. Based on the number of participants the segments will be divided. Also the full length of the composition will be voted on once there's a decent number of participants of about 4 or more. So basically, I'll have to start the composition, giving a general idea on the theme to be followed, for example.. grief.. victory.. relief.. misery.. etc... But before that, what are you opinions of this idea? Participants @Maarten Bauer @Monarcheon @ilv
  33. 2 points
    Who told you that you cannot sing or is it your own opinion? If you love to sing, sing! Listening to all kinds of music (Popular, Jazz, Reggae, Classical etc.) is very important too. Try to figure out why the music sounds the way it sounds and why it contains the emotions you feel. Which chords are used and what is its effect? Which instruments? Which rhythm? Which dynamics? Acoustic or electric? And so forth.
  34. 2 points
    Oops... sometimes my ratio leaves me alone. I will change it, thanks!
  35. 2 points
    I don't think there are any manuals to know what to do. But, on the other hand, I don't think either you need lots of years to reach a good level. Of course, you never stop studying music. Perhaps, in your case, you should focus on the scales of each chord. That includes what notes are chord notes, what are tensions, and what are avoid notes. You start with major mode and its seven chords-scales. In melody, to be sure, you put chord tones and tensions in strong places, and every note you want, including avoid notes and crhomatic ones in weak places. What are strong points? The beginning of the measure, an also the beginning of every division of the measure. Also, a tone followed by leap or by silence becomes a strong note... Well, there are many things about this. And besides, when you know the essentials, you can break the rules and make other things supposedly "wrong". Being self-taught is hard, many times you don't know if you are right or wrong, if you don't have anybody to tell you. But being self-taught is also a challenge.
  36. 2 points
    Chopin asked a bunch of older members (which made me revisit the site) looks good. I see old and new names :)
  37. 2 points
    A few of you may remember this as Sketch No. 100 on this site, but I revisited it, updated it, and quite like the end result. A friend will be performing it for her recital in June. Enjoy!
  38. 2 points
    Hello Vadrif, Actually, it's nice, but too short in my opinion. You already set the atmosphere of the piece and although I don't listen to this kind of music very often, I like it very much (so far). When you extend this piece, make sure that there is enough variation in instrumentation, orchestration, dynamics, harmony etc. Otherwise the music could sound too monotonous. One of the biggest nightmares a composer can have is a lack of inspiration. I have the same now in the last two weeks; I erase every note that I have just written down. Horrible! If you become lazy, I would recommend not to continue composing in this piece for now. Look for inspiration instead of trying to compose something without inspiration. Simultaneously, you can work on other pieces for which you do have inspiration and motivation to finish them. When you have inspiration again for this piece, try to extend it! Good luck! Maarten
  39. 2 points
    Hi, I'm new at this forum and at writing music. Had a go on a orchestral piece about pirates. Please feel free to listen and criticize. Any input is very valuable :) Cheers!
  40. 2 points
    Splendid! I have no critique on the music itself. Your rhythms are very nice and interesting! Harmony is nice too. As a saxophonist, I love that you have considered to write for saxophone quartet. Sometimes the music of the Prelude reminds me of some Mario Kart songs. The melodies are simple, but still blend well with the complex rhythms. Make sure that the baritone saxophone for which you write has a low A key. Some have it and some don't. Check it! You prove in this Prelude that you master the saxophone writing skill. The tongue slaps will add an extra dimension when the music is performed by real musicians. The Fugue reminds me of Bach, I don't know which piece, but it's also in 9/8. I think it's one of the 15 inventions in G (major or minor). This movement is my favourite, because all voices are independent, yet they form a very dense atmosphere. The saxophone has an octave key, which makes it possible to play an octave higher without having to press many other fingerings for playing the same note, but then an octave higher: If you want to play a low G (written) and then a high G, you will first have the fingering of the low G and when playing the high G you only have to add the octave key. When playing legato and ascending from a G to a high G the transition is very smooth, but when playing legato and descending from high G to low G there can be a 'sob.' Especially the transitions from middle D, E and F (with octave key) to any other note without the octave key can be hard to not let it sob. The problem is that your main theme contains many of these intervals: m. 84 D* - G; m.85 E* - F#; etc. Saxophonist can train to prevent this sob effect, but it depends on the level of the players. You shouldn't worry that much about this problem, because it occurs in almost every piece. However, I think it's useful for you to know this information. The third movement is very nice. It stimilates me to dance! M.179. Tenor. The D - Eb trill is very awkward and almost impossible, you have to change that. Mm. 211 - 214 + mm. 247 - 249. Baritone. Don't 8va in any saxophone part. We hate to read it, because we can't, honestly. All notes should be written normal, i.e. without octave clefs or 8va lines, except when writing in the altissimo register. However, even then the notes are mostly written without any 'reading supports.' By the way, I would delete all the saxophone names, except the names on the first line of each movement. There are namely no other instruments than these four saxophones, so you don't have to indicate these at every line in the score. Can you tell me why you change the key signatures in the music? I tend to make more accidental mistakes when the music is full of key changes than when there is no key signature (or one) and all accidentals are written in front of the notes. Why don't you stop with one key signature? Overall I love it! Note that the feedback I give to you are mostly details and finishing touches. This is because I see that you already know basics about the saxophone family. The music is wonderful and I look forward to hear the recording of the music performed by actual players. Kind regards, Maarten *Thank you for tagging me! @Monarcheon
  41. 2 points
    For woodwinds and strings, this was inspired by a Tom Waits song that poses the question, 'Who will put flowers on a flower's grave?' I'm kind of fond of it, but my opinion doesn't count cuz I'm the composer. What do you think, YC's? Here is a youtube video of the music:
  42. 2 points
    Wow. What a great, nice job. This Form works fine with this language. And I think you've fulfilled the expectations of the Mosaic Form (every part is part of a cointinuum with no beginning-no end). I'm glad you've used this contemporary harmony. Very well balanced, it's modern enough but it has also a classic feeling. I suppose you studied that Stravinsky's symphony... The score is full of indication, as it has to be. Congrats! I love it.
  43. 2 points
    Hi I've been working on something simple but funny (for me). Inspired in the life of my cats, I'm doing a king of little suite for flute, clarinet and piano. The clarinet is not transposed in the score. Well, music for me is this, too... T I've written too pieces (working on more): Awakening: the moment when the all come back from the dreamworld. Purring: including the sound of Dexter.
  44. 2 points
    Thanks guys! Byron was a Briard. In Spanish we say "Pastor de Brie". The others (in the video) are Spanish Waterdogs.
  45. 2 points
    This is looking very promising. Do you reckon it'd be worth putting in some samples of what these techniques sound like or linking an online resource (website/Youtube channel) that has them?
  46. 2 points
    To me it sounds like film music, from an old movie. It is nice, relaxing music. Try to search it here: http://www.musipedia.org/
  47. 2 points
    This falls squarely under the category of "what do y'all think of this?" I here present for your consideration the charming villancico "Llegad, moradores de aqueste pensil" by Spanish-born Mexican composer Francisco Martinez de la Costa (1739-1769?). The work was composed for the Solemnity of St. Peter at Oaxaca Cathedral, Mexico, sometime between 1765 and 1769, and is scored for vocal soloists, mixed chorus, trumpet, strings, and continuo (baroque guitar and portative organ, if I remember rightly). The linked recording is of a performance of this work by the Austin Baroque Orchestra and Chorus (I am a member of both) in November, 2015 at historic Mission Concepcion (1731) in San Antonio, Texas. This work has never been published, remaining in manuscript form in the archives of Oaxaca Cathedral, and this performance was probably one of the first anywhere in nearly 200 years, and almost certainly the first in the United States. The performing edition was prepared by ABO's director, Billy Traylor. For those who may not know (most of us), a villancico is a vocal work based on a specific poetical form; it usually consists of a chorus (estribillo) followed by several verses (coplas) and a final repetition of the chorus. Villancicos were extremely popular in Spain and Portugal and their Latin American colonies from the late 15th through 18th Centuries. Some are religious, like this one, but there are many secular villancicos as well. Very little is know of the life of Martinez de la Costa. He was born and trained in Spain, and by 1765 he had become maestro de capilla of Oaxaca Cathedral in the south of Mexico. In 1769 he requested a leave of absence to return to Spain to take care of some of his father's business, and was never heard from again. It is presumed he died while at sea on the voyage home. Now that you know more about villancicos and this unfortunate young Mexican composer than you ever thought you wanted, have a listen to this delightful, quirky little piece. The writing is nothing if not unique and individual. I'll be interested to know what you think. Cheers! https://soundcloud.com/austinbaroqueorchestra/llegad-moradores
  48. 2 points
    This isn't really my arena so I have no recommendations. ... it's just funny to me that >30-year-old texts are ideal for studying "contemporary" music ... Why not look towards actual contemporary music...like, from this decade?
  49. 2 points
    Hi @Monarcheon and @danishali903, thank you both for the great feedback. I'm definitely going to go back and look at some things. Congratulations to all the entrants. I enjoyed each of your pieces. @Connor_Helms, I'm sure I'll grok your piece some time this century. @Noah Brode, if you choose to keep working on your piece, I'll be happy to help you get it ready for a band. It's good and it should be played.
  50. 2 points
    Hi Justin - I think this is great. The clarinet part has a wonderful mix of virtuosity and lyricism, the piano part (and its interactions with the clarinet) is well-developed, and the harmonic changes and large-scale tension are handled expertly. You obviously know what you're doing, so please take my criticisms/suggestions with a grain of salt. As to where to go next, if it were me, I would ask myself: What do you want the "shape" of the recap to be? (Do you want the end of the development to be the emotional climax of the piece, or do you want to build all the way to the coda?) What should the character of the ending be (or, if you're thinking like Beethoven, which theme should be "triumphant"? You have such a big contrast between your first and 2nd themes, maybe you could exploit it more in the final section). One thing I would definitely get rid of, though, is the resolution at m. 360 (unless you want the movement to end within the next 10 measures). Otherwise, if you want to go on, you'll have to restart both the rhythmic and harmonic energy from scratch, and this can be difficult to do so late in the piece without losing the listener's attention. The piano part builds so nicely through most of the recap of Theme 2... what if you kept that energy going to transition into a more driving, climactic section instead of coming back down so soon (around m. 351)? I like the variety of harmonic ideas and characters in the movement (e.g. the contrast the 2nd theme provides--please keep it!) and I think you handle the transitions between them very well for the most part. A few of them seemed a little abrupt to me, though (off the top of my head, m. 183 and its counterpart at m. 314). I think this is just because you're resolving to tonic triads prematurely here, and it feels like you're interrupting the tension of the surrounding sections. Even just replacing chords like these with less-resolved ones would improve the flow, I think. That's a lot of words for relatively minor suggestions. It's very professionally written and would be a rewarding challenge for good performers... I hope you finish it and share the other movements here!
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