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= Short Piece for Cello / Piano / Granular Synthesis = = Background One day, I thought of a cellist and a pianist performing over a backdrop of electronic noise, and this piece was created based on that idea. As the title suggests, the composition features cello, piano, and granular synthesis. The composition process began with creating the granular synthesis textures, followed by adding staccato cello notes and piano. I imagine a space that looks like a compact design. = Note I don't have a specific message I'm trying to convey with this music, but I would be happy if someone found it enjoyable. To be honest, I was reluctant for a while to upload this piece; I felt a bit hesitant about creating something annoying when everyone else is composing beautiful orchestral / chamber or keyboard-based works, haha. Still, I decided to take the plunge and upload it. As for the score, since I don't know how to notate it, I can't upload it now. I’d love to hear your impressions, criticism, and feedback. Again, I hope you find it interesting and enjoy it. = Music / Artwork: Lithl = Finally If you know any pieces that are similar to this piece of mine, please let me know. I'd appreciate it. Thank you for listening, and have a nice day :) Short Piece for Cello : Piano : Granular Synthesis.mp3

Hi @Lithl ! By listening to your music I actually think of a Gothic scene: just like @Luis Hernández noted the synthesiser sounds like ominous birds flipping. I actually don’t hear the cello much, maybe you can add more of it? I think an extremely high pitch harmonics or sul ponticello cello or col legno lowest register cello can make the atmosphere sound more scary. Thx for sharing! Henry

This is something I've been wanting to do for a while. The lamento bass is a famous motif based on the simple idea of the descending tetrachord (commonly in d minor). In my realization I build momentum with complexity with which I aim to demonstrate the range of possibilities within this short space. One can keep going with more variations. It is both a beautiful and inexhaustible concept. Prelude for the Soul.mp3 Prelude for the Soul.pdf

Hi @Markus Boyd ! I really love this prelude! The counterpoint is really rich and fluent and the pain real. Maybe an imitative entrance of each voice would make the piece more solemn but to me this one is already really good. Probably because the Dorian is the 1st mode? Just like Bach’s Die Kunst der Fuge maybe because of that too. Thx for sharing! Henry

It's been a while since I've composed anything, so I felt like getting back into doing some Persichetti composition prompts. I am now on Chapter 8 of Persichetti's "20th Century Harmony" which is titled "Compound and Mirror Harmony". The particular prompt for this piano piece was "8. Write an opening section of a two-part piece for the piano employing two symmetrically invertible scales. The mirror writing should be kept strict throughout." So I tried to do just that with this ~1 minute long piano piece. I tried my best to make an actual piece of music rather than an exercise, but let me know how I did! I'd appreciate any of your comments, critiques, suggestions or observations! Thanks for listening! Here's the form of the piece: A - Right Hand - C Mixolydian, Left Hand - C Aeolian B - Right Hand - C Ionian, Left Hand - C Phrygian A Persichetti Exercise 8 - 8.mp3 Persichetti Exercise 8 - 8 Score.pdf

Hey Peter, This bitonal piece sounds really funny, it sounds like a parody of a march! It's like someone saying "look at how serious I am!" by making himself 200% serious which makes him 500% ridiculous lol Henry

= Sharing Musicians and Works = I want to know a lot of types of music. And I imagine many of you feel the same way. But it's impossible to know every genre of music just by searching on my own. So, sharing music with people from different backgrounds and interests may help expand our knowledge. Any genre is welcome (the more diverse, the better!). Ex: Avant-Garde, Classical, Electronic, Ethnic, Local or Country music, Film Music, Jazz, Pop, Rock... I mean everything! Please feel free to share musicians and works :) I hope this topic becomes a hub for new music! Snarky Puppy (Empire Central) Richard D James (Drukqs) Stevie Wonder (Journey Through The Secret Life Of Plants) Baaba Maal (Gidelam) György Ligeti (Atmosphères)

I'm usually into Gustav Holst's music because of The Mystic Trumpeter. It's such a mature and emotional piece that's sadly very neglected. I also quite like Tan Dun, Antonin Dvorak, Ludovico Einauldi, Gustav Mahler, Fela Sowande, and many more

Hi Matthew @mahler2009 Personally, I do both at the same time: I study and compose with traditional harmony while also writing more experimental music, rather than treating one as something I need to master before moving on to the other. Some of my earliest pieces were actually quite weird and almost atonal, before I later explored more conventional tonal writing too. I’ve found that both approaches help me develop in different ways. I don't think there's a particular point when you're suddenly "ready" for non-functional harmony. Traditional harmony gives you useful tools, but experimenting with the sounds that interest you is also part of learning composition. I'd keep developing both in parallel and let them influence each other Also, welcome to the forum!

I don't know if I'm allowed to talk about it yet! LoL .. but don't worry .. we'll publish it here when it's done!

Hello, I tried playing with the sheet music and I'm not sure if your recording is the same as the sheets. It definitely deviates after the repeat. Personally, I find measure 13-16 too repetitive. I think I get what you are going for, with the building of the tension, but it just doesn't good (to me). My ears want to have some variation. Also I think the notation does not match what the mp3 is playing here. I like the mp3 better than the notation. It gets really weird at 0:59 in the recording. I guess it all depends on the direction you want to take the piece in. Whenever I get stuck, I try things like: 1) Doing the same thing in a minor key 2) throwing in a key change 3) reversing the theme, so it sounds completely different 4) depending on the piece, I sometimes like to take tidbits from the theme and make a new theme. For one of my pieces which had a passage that was 8 bars long, I just took the first note of each passage, which created a new musical idea consisting of 8 notes. So that was fun and worked well. 5) Give the left hand something interesting to do, perhaps move the theme there, or change the accompaniment. I always try to understand my music. Maybe this sounds kinda weird, since I'm also writing it... but I don't assume that I understand the music that I am writing. I figure that if I truly understand my music then I can understand where the music will naturally go. I realize that this advice is not very tangible but this is the most honest answer for what I do when I feel stuck. I'm sure some of the more classically inclined musicians in this forums can give you some other ideas...the possibilities are literally endless. Hope you find some inspiration.