Leaderboard

Hi to all musophiles! Just wanted to share my latest piano work, which was improvised around three chords. These were C major 7 sharp 11, E minor +6 +9, and B minor +9. The first two are from Howard Shore's score for "Lord of the Rings", and the last one is Ravel's favourite chord. I haven't put my phrasing slurs in yet; but it's otherwise maybe finished? Not sure if it's any good; or if I should just bin it? Have also included an earlier version (#34) that had an awkward passage one minute into the piece. I liked this material; but couldn't find a way to integrate it into the piece. It sounded rhythmically weird, no matter how hard I tried to make it work. Thanks for listening, Alex Chills #36.mp3Chills #34.mp3 Chills #40.pdf Chills #34.pdf

Hello, It sort of sounds like a mysterious ice/cave level from a video game. As a side note, do you need all these time signature changes? Maybe just lots of fermatas, I don't know. I guess you probably need at least some of them. It feels like good background music. The chords are very pretty sounding :) The LH feels a bit clumsy sometimes...but not like in a bad way. I suppose it would be clumsy to get around in ice or a cave. So yeah, those are my thoughts. Overall, enjoyed it.

Thx to me for recommending you this book 🤭 I think YC really helps my growth for composing, as it really gives me optimal experiences reading some of the best reviews on my own music which in terms motivates me to compose better. All the feedback I receive here are helping me achieve my own goal, which is to always improve my composing ability and hence to compose something really great in one day. I really do have some optimal listening experiences here. Sorry for my near absence in the forum for these few months so I can only recommend posts that are posted earlier: Suite for Strings - Orchestral and Large Ensemble - Young Composers Music Forum Symphonic Overture - Orchestral and Large Ensemble - Young Composers Music Forum "3:00 a.m. thoughts" (My best piece below 2 minutes) - Chamber Music - Young Composers Music Forum Orchestral Overture in C-sharp minor. - Orchestral and Large Ensemble - Young Composers Music Forum Just to name a few Henry

From "Flow - The Psychology of Optimal Experience" by Mihaly Csikszentmihalyi: And, perhaps our community here on Young Composer's can also be evaluated based on how much it is able to facilitate optimal experiences for its members, how much it is able to help them achieve their own goals and have optimal listening experiences both of others' music as well as their own. Thanks for reading!

Alex, I enjoyed the interesting harmonies; however, I felt the structure of the work to be a bit loose. I had difficulty following a coherent theme and I felt the work didn't have an arch to it to carry me through from the beginning to the end. Mark

Hi @Martynas123 ! I think the melody in this recording gets buried underneath the less important voices. It's important to balance the parts properly in the mixer or by using dynamics in order to bring out the most important aspects of the composition and relegate the less important parts to the background. With piano, in Musescore, the way I usually do this is by using multiple pianos and giving each individual piano its own dynamics/levels in the mixer. That gives me more control over parts I want to bring out in high relief above the background figurations and parts of the chord which shouldn't be as emphasized. Then of course you have to edit the playback file to make it look right for the PDF export, but for me at lease, it's worth the effort. Thanks for sharing!

I think this is lovely romantic writing. When we use "romantic" to describe a composition, it reflects a style. Many think...romantic period has it is own harmony. Romantic composers use the harmony as classic ones. It "how" they use it. It also in part writing, lines for fluid and lyrical! That is why @Luis Hernández when I say: let the double bass more melodic and fluid. It is just not used as a pedal. It can create tonal color.

That sounds lovely. And well-balanced. I think that in a chamber music setting like this, the double basses can have their own independence at certain moments and in certain phrases. That’s how the great Romantic (or post-Romantic) composers did it.