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Showing content with the highest reputation since 08/22/2017 in all areas

  1. 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.
  2. 4 points
    Lately we talked about destruction of music, etc... Well, I did this piece.
  3. 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.
  4. 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 :)
  5. 3 points
  6. 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.
  7. 3 points
  8. 3 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. :-)
  9. 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!
  10. 3 points
    Little fantasy adventure piece I never posted. I hope you guys enjoy it!
  11. 3 points
    It's interesting to me that composing isn't something more people are encouraged to do. Think of how young you were the first time you drew or painted. What grade were you in when you wrote your first story? You didn't just look at other people's art and listen to stories others had written, it was expected that you would like to make your own as well. We spend a lot of time exposing small children to music, and fortunate ones also learn to play music, but not many are given any tools or guidance to compose their own. And yet all preschoolers make up their own songs and sing them without a second thought. So I have a question for you. Why do so many people NOT compose? Why do I create music? Why not? When the tune comes easily and all I have to do is write it all down, I'm frantic to write it out before I forget something. When I have an idea of something specific that I want to do, but I don't quite know how to achieve it, composing feels more like solving a very difficult puzzle. I try lots of possibilities, very diligently, and may change my mind several times. It usually takes me between a week and a month to complete a three-minute piece because I like to put it away, clear my brain, and come back to listen to it again with fresh ears to be sure I still like all my decisions.
  12. 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
  13. 3 points
  14. 3 points
    I think i'm finished with this one although unsure about the ending. I wanted to write something a bit faster than I normally would. I don't have the score as Logic is terrible for that. Enjoy and comments welcome as per. Any feedback really is welcome, good or bad.
  15. 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:
  16. 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.
  17. 3 points
    This prelude was inspired by an autumn walk. Any kind of criticism is welcome! Prelude 1 Op.2.mp3
  18. 3 points
    A short piece for solo piano, basically a variation of the same theme in 2 parts, separated by the change of dynamics.
  19. 2 points
  20. 2 points
    Nice standard piece. Not surprising from the harmonic point of view. Timidly, you change the texture for a short time from 1:30. I would insist on that because a constant pattern in the left hand makes this pieces a bit tiring (in my opinion).
  21. 2 points
    Hi Roberto, It's just practice, patience and perseverance. You're doing really well so just experiment and see what happens. I personally take quite a while to write a piece, a month at least or even two until I'm really happy with it. The piano sonata "Lily" which you commented on, took me two months from start to finish. The ideas come quite quickly at times, but then you have to put meat on the bones and edit and alter and tidy up etc., these things don't happen over night. Take your time, and above all, enjoy what you do. Mark
  22. 2 points
    Just two short parts. I wanted to write "emotionally" using contemporary tools. I think most contemporary idioms are linked to ancient ones (in music). @Rabbival507 The second part (2:35) uses the In Sen scale all the time in the right hand (except a few passing notes), and also in the left hand but less. I think you called this scales Miyako Bushi.
  23. 2 points
    Thats my rain prayer. The only rain we had where I live this year last around five minutes and it wasn't enough for me to enjoy it. Also I wanted to write something for choir (and the first idea had a trill in it). I tried to write something Jewish or Catholic but I don't like their god, so I made up a rain goddess to pray to. This is my prayer for SATB+Piano, Please let me know what you think of it. *Note that I didn't edit the audio so it's basically the midi from sibelius. I won't recommend listening to it, but I upload it for those who want to.
  24. 2 points
    Mark as an exercise only! Have it played by a string player and get feedback! You'll quickly see patterns and learn the idiomatic way.
  25. 2 points
    Down bows are naturally stronger and up bows are naturally lighter, so if you have a pattern of quarter notes in a 4/4 section with nothing unusual accent-wise, it's best to have down on 1 and 3 and come back up on 2 and 4, to follow the natural accents of the phrase. For a strongly accented passage where there is time between notes, you might want a series of down bows. The player will have time to make a bow circle in the time between notes to reset the bow to play the next note as a down bow. But any time you change bow direction, be it up bow or down, there is also a slight feeling of accent compared to two notes slurred together. Slurred notes give a feeling of smoothness and phrasing. In a particularly smooth line, you'll probably want some slurring, but think about where you would choose to breathe if you were whistling the line. The bow should definitely change direction there at a minimum. Think about where there are natural accents in the line. Those are good places for the bow to change direction. Think about grouping notes according to a repeated pattern to preserve a sense of orderly smoothness: each measure is slurred, or every four eighth notes, or whatever makes sense. Think about how fast or slow a bow can move to play the dynamic you want. Eventually the player will run out of bow and need to turn around, but that will naturally happen faster at a forte than at a piano. Think of the bow arm as dancing. How does the arm want to dance, given the character of the music in a given phrase? Where would you want to kick out a leg or an arm if you were dancing? And don't worry too much about dictating every little thing. String sections generally make their own decisions about how to phrase a line. Sometimes a conductor will dictate how he would like them to slur something to change the accents and improve the balance between the different orchestra sections. They all do this for a living. Trust them. Marking every bowing is like marking which fingers to use in a piano score. It's done for beginning students and it's done in the occasional really tricky passage where it's not intuitive, other than that you can mark your slurs and mainly trust the player to find the best solution for up vs. down.
  26. 2 points
    Hey, everyone ! It's been a few years since I've last posted on this forum.. I haven't been as productive with composing as I should've been these past few years.. needless to say, I'm still pretty new. 😛 Here's a piece I finished back in 2014 and posted here a long time ago.. So, since I'm getting back into composing (and that this is arguably my best work out of the very few I have) I wanted some fresh feedback on it.. I wanna improve as a composer.. so please, don't hold back with the critiques. 🙂 Cheers! Nic https://www.noteflight.com/scores/view/8196350de48ded3feb3b24a05e70cc59e7124e39
  27. 2 points
    The money is mostly in composing for media like film, tv, games, and advertising. From a business perspective, each has their pros and cons, but it has been my experience that video games are the most difficult to make a living with due to indie market saturation coupled with falling prices. Only the biggest games at the highest price-point make any real money, production budgets are significantly lower than elsewhere and they never pay royalties. Kind of a silly question 😜 Plenty of composers make a living at it, but it's important to not succumb to survival bias when planning your career. Because statistically, most don't. The hard truth about this is that it is about 90% sheer luck. The other 10% is through networking and referrals. People over-estimate the payoffs of "networking". Yes, meeting people is important and ultimately necessary, but realistically: You have no idea who you are going to meet, where you are going to meet them, and MOST people will not require your services. Most directors, game developers, etc. tend to work with the same composer for pretty much their entire career! So don't try to work with Spielberg; try to work with the next Spielberg. This involves working on student and indie projects for little or often no pay just to starting getting experience, IMDB credits, and some semblance of a portfolio. You definitely need a portfolio. You don't need a piece of paper from a school, but you need the kind of knowledge (and more) that a music degree offers. Whether you learn that by self-study, working under more experienced composers, or actually getting the degree is up to you. To stand a fighting chance, you should know music inside and out. Harmony, part-writing, counterpoint, the scales, the modes, orchestration, writing for pop ensembles, etc. all while having your own sound and don't become Zimmer clone #1347324988753. I'm a guy who has actually managed to make some money with composing music before I was drinking age (In the USA, anyway) but I have a far more "red-pilled" outlook on this than most: You should know that pursuing composition as a career and putting all your eggs in that basket (not saying you are, but hear me out) is a very, very risky endeavor. You have to be prepared to accept that, to no one but fate's fault, your career may never provide enough income to live on no matter how skilled and well-connected you are. The supply tremendously exceeds the demand. What most don't talk about in this subject, or realize until it's too late, is that pursuing this career inevitably requires you to dedicate a lot of time to it that takes up time for other things in life that are also fulfilling until you "make it", and keeping this up for too long without payoff has consequences. I know it's something no aspiring composer wants to hear (when I was a teenager with professional music aspirations put my fingers in my ears to it), but we all need some contingency plan in the event music never works out long-term. There has been a number of studies recently regarding the mental health of musicians, and they're finding it's on a serious decline. Why? Most of this depression comes from a decreased sense of self-worth from not making enough money, or hitting new milestones in their career. 'Cause If you're still working some dayjob you hate in the mean time, the future can start to look increasingly bleak with each passing year that you're not doing much with music and trust me...as you get older, the years just go by faster. So I guess what I'm saying is: "Don't get discouraged if you don't get a lot of jobs with music, and remember that life has more to offer." Unfortunately, a lot of passionate musicians can forget that.
  28. 2 points
    Something good always happens on a Thursday. It's been a hard work week, and I'm a little dried up. Nevertheless, I managed to compose something in the hot evenings. I'm excited about how this piece is coming along, and therefore I want to step carefully. I've decided to let you guys share your thoughts on how this might go on, or critique what's already there. It would be heartily appreciated 😀 I think it sounds like a parade due to the rhythm and the sectionality; unfortunately that's not a word in English. Note 1: The "end" is weird; I'm aware. It's a work in progress, and the very last part is just meant to suggest the bed of some kind of bridge (contrasting part) perhaps to come. Note 2: This was made with Sample Modeling strings and flutes, Orange Tree Samples nylon guitar, and some built-in Kontakt basses and percussion.
  29. 2 points
    Thank you for sharing your three preludes, which have really nice ideas and have a generally good flow. Some comments: Prelude in e minor: The time signature change in measure 2 feels a bit forced as it does not add really to the musical structure. I would just shorten the measure. Measure 2 then rhymes very well with measure 4. Same goes for the repetition of this part at the end. The block chords feel really thick. Probably you could thin the texture a bit. Prelude in D Major: The open end on the first inversion chord is charming, however, it could be staged more effectively, e.g. by slowly petering out. Or you follow @Youngc and add a proper cadence. Prelude in c# minor: You use the inherent chromaticism quite nicely. Just an idea: You could change the last f# into a double sharp for a provisional leading tone to the dominant, but this is just an idea.
  30. 2 points
    The general atmosphere (more in the slow parts) is unique, I like the "dirty" sound of the chords.
  31. 2 points
    This is what Hans Zimmer would sound like if he ever got out of D minor.
  32. 2 points
  33. 2 points
    10 minute sketch of the snowfall that happened here last night.
  34. 2 points
    Hello, all! Here is a single movement work I wrote for string quartet. I entered this into a call for scores that a professional string quartet hosted. Out of it, I got this recording (along with 200 dollars)! Let me know what you think! Feedback always welcome!
  35. 2 points
    Hello guys! So for most of my life i've sat down at pianos and improvised. A couple years ago I got a phone and started to record these sessions. I've never really publicly "published" these recordings, but since my parents and musical friends say I should, here's one! This is one of my more recent sessions... I record anywhere from 1-3 a day! I only started taking piano lessons last year so my technique is super primitive Any advice for me as an improviser? Are these any good?
  36. 2 points
    @Maarten Bauer@Rabbival507 I was kind of in a similar position when I finished high school 8 years ago. I went into software engineering at first because it didn't occur to me at the time that music was something I'd be able to pursue really seriously. Even as I started hating software engineering, and realising that I really needed music in my life, I still worried that music wasn't something I could do as a 'job', and that IT would be safer even if I hated it. But then I hated it so much, and was so miserable, that I decided that I would switch to music and just take my chances. This was after 3 years of uni. I then had a 4 year music degree (in percussion performance) which I loved almost every second of. It was at a university rather than a conservatoire, which I think was better for my own development. Then during the music degree I gradually realised that what I actually really wanted to do was to write music. The composition tutor at my uni recommended I finish my degree in performance rather than switch to composition, so I stuck out in performance and I'm glad I did. A chance visit to London two years ago gave me the inspiration to audition for a masters degree in composition at various places in the UK, and my backup plan was a masters degree in performance at the Sydney Con (I didn't want to do composition there). I got accepted in Sydney and was about to start class when I got the offer from the RCS in Glasgow, and there was not a moment's hesitation before I accepted it. So I guess if I have any advice, it'd be to feel free to start a degree in something other than music, but remember that it's never too late to change your mind. So the reason I write music is that I can't imagine doing anything else. Even if I had stayed in IT (and would by now be working in some sort of desk job), I would still be composing in my spare time. It made sense to me that I should therefore try and study it to get better at it.
  37. 2 points
    I compose because I love music am a mediocre musician at best, so writing music is the best way for me to be an active participant in the music making process. It's a great outlet for me as a stress reliever as my day job is actually quite stressful. I actually go through a series of emotions when I write music, the initial excitement when I come up with (what I think at least) is a great theme, melody or harmonic progression, frustration as I struggle to put down what I have in my head onto the page or notation software (I do not have perfect pitch), pleasantly surprised when I inadvertently discover an interesting chord or modulation, and finally a bit euphoric when I finally finish a piece. Time wise, I'm all over the place. Some of what I consider my best smaller scale works only took me from beginning to end, a few hours. Another large scale work took me seven years to finally finish and a work which I would consider my magnum opus has been in progress for over 20 years. If I am able to devote regular effort on a piece, it probably takes me around 3-4 weeks to write 5 minutes or so of quality music. Best of luck on your essay.
  38. 2 points
    Just know basic music writing/theory/rhythm skills. Be ready to have an open mind, as the subjects will get advanced quite quick. For everyone else, I'm going to try to aim for 5 people in the class before I get started.
  39. 2 points
    After several months of off-and-on work, I finally completed my sonata for clarinet and piano. I have been extraordinarily busy at work, and so my revision process has been unusually long, though it is done now. I posted the first movement (in a less refined form) a while ago, and I received some great feedback on it. I am hoping to get it performed in the spring, and I am excited to hear what you guys think. Happy New Year!
  40. 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.
  41. 2 points
    Interesting. Perhaps you can look for inspiration in the great composers who wrote about similar landscapes. For example:
  42. 2 points
    This is some incredible background music you've made! Great job!
  43. 2 points
    Oh wow. This is awe-inspiring. Very good job my man!
  44. 2 points
    It was a pleasure to listen to it. The effect of contrasting voices and how they drop out and come in was fine. Sometimes, the voice leading could have been a tad more polyphonic, but that depends on your style. However, I think the music could do more to convey the meaning of the text, especially the contrast between the lines about ingratitude etc and than the refrain where the holly reminds the author that life can be jolly.
  45. 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.
  46. 2 points
    Six Dances for Wind Quintet -Polka -Minuet -Valse Lente -Siciliano -Landler -Tarantella
  47. 2 points
    Here's something a bit different. I've always been a big fan of composing in as many mediums as I can get my hands on, and one medium that I've really been getting into over the last couple years is chiptunes. I've done quite a few that I really like but this one is probably my most well-liked so far on the website I participate in (battleofthebits.org). It's quite classical-leaning in many ways, as opposed to a lot of chiptunes which deliberately seek to sound videogame-y. I called it 'ceilidh' because it was inspired by two ceilidhs that I attended during my first week here in Glasgow. A ceilidh, to put it as simply as possible, is a traditional Scottish gathering with song and dance. To me, the term 'chiptune' is distinct from '8-bit' in that a chiptune is music that could actually be physically played on a specific music chip. To prove it, the .mp3 I have uploaded here is an actual recording that another user took of their own NES, playing the music file I had created. It also means there's not much use me uploading the source file, because it was created in FamiTracker which is not notation software.
  48. 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.
  49. 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.
  50. 2 points
    I would contact one of the organizers. Small percussion instruments can include cymbals, woodblocks, tambourine, and more.
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