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Showing content with the highest reputation since 06/24/2019 in Posts

  1. 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.
  2. 3 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.
  3. 2 points
  4. 2 points
    Hey, I'm not 100% sure what this genre of song is, I'd love it if someone could let me know because I want to try produce a bit more in this style. Normally I compose orchestral soundtrack sort of stuff but I think it is good to be able to branch out and produce in all sorts of styles not only for the ability to reach a wider range of applications but because I can learn more about other techniques and technology which I could apply across a range of genres. Anyway this is the first sort of composition I've made outside of my usual genre and hopefully it actually sounds different, not just the same with different instruments haha. Let me know all the criticism you have because I am so new to this and I need all the help I can get! Cheers.
  5. 2 points
    Emanuel, please do not promote your track in my post!
  6. 2 points
    So a year ago, I had this idea of composing a suite that would represent different types of weather. I would call this suite Weather Music. But it wasn't until a few days ago that I actually started composing part of the suite. What part did I start composing you might ask? Well, I started composing probably the most intense part of the suite. That's right, I composed the part of the suite that is supposed to represent a storm. I am like exactly a quarter of the way through finishing the piece. But before I even started composing it, I was like: Full orchestra example: Beethoven here is really getting across the feel of a thunderstorm and the calm after the storm with the orchestra here. String orchestra example: Probably the most well known example of a storm represented in music. So well known, that it itself is often called Storm when played without the preceding 2 movements of Summer. There is no calm ending to the music at all. Piano example: Not directly a piece representing a storm unlike the previous 2 but it could very well be interpreted as stormy music because of the tempo and all the octaves. So I had a lot of pieces to go on as to how to get the feeling of a storm across. The only real questions were what key to have the piece in and what to compose the piece for. I eventually decided on piano solo because that is my area of expertise. I mean I am a very advanced pianist and I started composing in my intermediate years, mainly piano works. So it makes sense that composing for piano would be a natural thing for me because I know my abilities and limitations as a pianist. I don't directly know those same things for flute, violin, or any other instrument the way that I do for piano. The only way I know these things for other instruments is by studying the instruments and pieces written for those instruments. This is how come I know that out of all the possible piano-not piano duets that exist, the most balanced is the cello-piano duet. This is how come I know that a forte dynamic in the first octave is impossible on the flute. It has to do with pieces that I have listened to that are written for those instruments and other ways that I study the instruments. But no matter how good I get at say writing for flute, my piano composition skill is likely to always be superior because I get that skill directly from my knowledge of music notation, music theory, and 10 years of experience playing the piano, no studying piano pieces out of context of playing them required at all. Plus I have several other non-piano works that I am working on(namely my first symphony which might take me a year just to get the piano draft of it finished but that's okay) Anyway, back to my storm piece. That was quite the digression there but I just felt like I had to get it out. I decided to have it in the key of C minor because it is very easy for me to improvise in the key of C minor and simultaneously get it to sound very expressive. It is almost impossible for me to do that same thing for C major(which is partly why I mostly avoid composing in C major). And stormy is 1 feeling that is very natural to the key of C minor. In fact, just about any emotion that you can get out of a key is a natural emotion in C minor under certain conditions. Even happiness is a natural emotion for C minor. How I'm getting across the feeling of a storm So 1 thing that I noticed in common in nearly all pieces of music that I would consider to have a stormy character was octaves. But not just any old octaves. No, the octaves I noticed in stormy music were very fast and they were alternating. Very commonly, I would notice that almost the entire bass line is in octaves(as is the case with the Beethoven examples) or otherwise as in the Vivaldi example, the repeated notes in the bass would get across the same feel as octaves would and the octaves only really exist if you combine the bass and alto lines. So naturally, I took these octaves and applied them to the left hand part of my piece and the only time these octaves would be slow was in chords. Even when I state the Fate Motif, it isn't slow, despite being a rhythmic augmentation of the original motif just because of the fast tempo. I so far have done all these things to get across the feel of a storm: Keep up the momentum of the 16th notes except in certain spots to make the entire piece sound dramatic Use a minor key because the same drama would be hard to get across in a major key, even taking everything else into consideration Use scalar passages with unpredictable leaps to represent the strong wind by giving a chaotic feel to what would otherwise be a normal scale. Use diminished 7ths more often than dominant 7ths just to add more drama Use the Fate Motif as a bass line during some of the scalar passages to represent the lightning flash. Use chord progressions to represent the thunder that comes after the lightning(this is what I mean when I say that the octaves are slow in chords) Have the melody in the right hand outside of scalar passages be staccato to represent the rainfall Under the staccato melody, use fast octaves to give a sense of turbulence, which is very fitting for a storm Use stark dynamic contrast between passages representing thunder and lightning and passages representing rain Creschendo to a loud dynamic Suddenly get quieter Presto tempo(mine is actually on the slow end of Presto, at 160 BPM) Here is the piece as it is so far. Sound ends at about 1:25 in the MP3 just so you know. Does it sound stormy to you with all the octaves, 16th notes, and the Presto tempo?
  7. 2 points
    Tomorrow is the longest day of the year on a Sunday in my country, at which time people burn a dummy witch per old tradition, and this afternoon, I just felt in the mood to finish this piano piece. I feel like it has a bit of summer in it. But I actually started on it back in April or so, then put it in the drawer, because I found something off-putting about it. I hope it sounds reasonable now.
  8. 1 point
    I feel like this has ripped off something else but I'm not sure. Please do let me know what you think. Thanks.
  9. 1 point
    I wrote some pieces with a jazzy feeling. Hope you like it.
  10. 1 point
    Nice piece. However I find the middle part less interesting ( I think it is repeated ) in terms of melody - motifs. Anyway, very beautiful.
  11. 1 point
    Very beautiful piece.
  12. 1 point
    A maximum-cheese, power metal tune I composed as a battle theme for an indie game. Let me know what you think.
  13. 1 point
    Composition completed on 12/30/2015 You also can watch this piece here -
  14. 1 point
    Oh, so you can write for woodwinds. Where was this guy in the Sea Symphony? This piece... phenomenal! So much movement, so much emotion, so much Mendelssohn. Either you've listened to a lot of his music, or he has been reborn as you. Either way, this was some fantastic orchestral writing right here. I do have a couple of suggestions. You might have a look at some orchestral scores to get a better feel for how the woodwinds are typically scored. Most orchestras have two or three wind players to each instrument (the same goes for brass), and they'll often write divisi passages for them, or notate them as a2 if both parts are playing in unison. Nothing a little research can't fix! Also, transpose. That trumpet is playing some awfully high notes... not sure if playing a high C# (B natural untransposed) is feasible with such soft dynamics during the menuet section. Also, the arco/pizz fiasco strikes again. You know what to do. 😉 But overall I was overwhelmed. I loved how you brought back the menuet passage and used the other theme (or its variation) as counterpoint. You seem to have a good mind for hearing how things will sound with the different voices of the orchestra—and that is a rare gift, indeed. I find your music quite refreshing. Please, keep making more!
  15. 1 point
    Well, I love your attitude and wish you the best of luck!
  16. 1 point
    You need the freedom to compose what you want; not be slave to a DAW. Can you switch off the "key" or scale or mode? You can't modulate to new keys or even do interesting harmonic progressions without accidentals so if you want to use some of the main chromatic chords (in a key - chords that don't exist in that key) you'd be stuck. I haven't used a key signature for ages. I just draw in the piano roll notes as I see fit. May take a bit of getting used to but once you can, you're free!
  17. 1 point
    Very soothing melody. I might suggest you add some chords or accompaniment in the woodwinds at measure 18 with the cello melody to give it a more "full" sound. Also, what are your thoughts on the Sibelius program? lol just curious 😄
  18. 1 point
    Well, I think you'd have a tough time finding anyone who is like...against chromatic notes or whatever. The romantic era is pretty much synonymous with chromaticism and film/game music rely on it extensively. Though maybe you're referring to simply using notes from outside a given diatonic scale? Also good. Would be pretty boring if you never did. This is where I'm a bit confused. What do you mean? Most modern music, at least that intended purely for listening, is not modal to begin with.
  19. 1 point
    Actually, now that I think about it, Mark's covered everything and a few I hadn't thought of! Stormdrum has an ADSR, so I might shorten the release, along with EQ to remove annoying resonances, and a low velocity. At a lower tempo I've had good luck with using CC11 surgically to rein in the tails of the timpani, for example, to simulate my hand on the drum.
  20. 1 point
    When you play a real snare drum, there is a very wide spectrum of it's sounds. First you can tighten the snares underneath the drum.. this greatly affects the sound. Then velocity, strength, and where you hit the drum, actually creates a vast amount of difference. Some drummers will leave a cloth or their wallet on the snare, for a certain sound, to shorten it's decay rate. In a virtual drum kit. This extremely large variation is drastically reduced. The snares themselves (the metal wires underneath) really don't have much decay change, only the volume of them. The newer, more expensive virtual instrument drum kits use a number of 'round robin' samples to accomplish this, and give the sound the 'human element'. Since drum synths, and sample libraries, we have become much more accustomed to not a wide range of snare drum sounds. But the human ear is quite adept at discerning when the same sample is repeated over and over. What you come away is, depending on the realism you are going for, depends on the virtual drum kit you use. Yes, you can program snare sounds, and create some interesting results. You can google snare drums, and find info which might inspire you, or aim you in a direct to create what you are looking to do https://newpercussionist.com/how-to-tune-a-snare-drum-hitting-the-right-beat/
  21. 1 point
    Oh, I don't know why this piece has no comments. It's a wonderful piece, nice counterpoint and texture. Very good blending. Evocative and modern. Good work. And beautiful performance.
  22. 1 point
    Thank you Theo, I really appreciate it. Knowing your music, which I consider extremely well written, it means a lot to hear this from you. Regards Mark
  23. 1 point
    I like your explanation Ken.
  24. 1 point
    Outdated, schmoutdated! It's quite astounding, really, to think that composers of the mid-to-late 20th century declared that the milenniae of music before them was outmoded and primeval. Like with most postmodern movements, their school of thought conflicted with what we consider to be 'natural'—in this case, the tonal intervals perceived by the human ear. Twelve-tone music, serialism, atonality, whatever you want to call it—it's an interesting (and sometimes useful) construct, but it greatly diminishes the beauty of music, in my opinon. Rather than flow with my soul, it goes against its grain. I'm not saying it's bad music, I'm just saying it's not beautiful. To me. But, like you said, each to their own. I'm glad to see there are still composers out there who create music "the old-fashioned way."
  25. 1 point
    This is great, I like it a lot. It's tonal, but put together in a really interesting way that makes it feel quite fresh. I might like to have varied a little that constant return to the high G, just give it a feeling of progressing beyond that limit here and there, but that's a personal observation based on something I might have done if it were mine, but that doesn't take anything away from what is a great piece.
  26. 1 point
    @OscarDude15: Sorry, I thought I already responded to this piece somehow! The differing voices keep the piece so alive, it's quite refreshing to hear. You're very talented at thematic development, and the repeats only serve to cement the melody in my heart and soul—they do not seem boring or repetitive. I'm reminded quite a bit of Chopin here again, with a touch of the late Romantics. In the words of Lloyd Christmas: "I like it a lot."
  27. 1 point
    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
  28. 1 point
    Really genius! I love all the suspensions in the beginning. Also from 1:15-1:25 there is a great sequence you have which is harmonically beautiful in my opinion. Keep it up!
  29. 1 point
  30. 1 point
    Hey Guys, This music is about the duel of Zeus and Kronos. Kronos is the father of Zeus, and according to the mythology, Kronos eat his kids, the gods of Olympus, except Zeus. When Zeus felt himself strong enough, he decided to, he will take the power from his father. If you are interested in the details, you can find many information sources with a Google search.
  31. 1 point
    I love it! Very nicely done! So much movement, so much emotion, so much power... and the scoring is done well, too. Be proud of this one!
  32. 1 point
    Really nice score. I hear it as something in a movie. What program did you use?
  33. 1 point
    Not bad, It has a good melody going on.
  34. 1 point
    If you mean those you can acquire on line as pdfs have a look at https://imslp.org It claims on 13 June it had 475000 scores.
  35. 1 point
    First movement. There's very little to be said. It's a seriously accomplished piece, a lyrical viola part that doesn't fight too hard with the orchestra possibly because the orchestra is fairly subdued much of the time. You have a knack with thematic development, all 15 1/2 minutes of it. Quiet and subtle, occasionally an interplay of melodic lines. The orchestration is brilliant as is the rendering. It might almost be live. A difficult cadenza at the end and a great build up to the closing measures. . Very well done. A pleasant listen. If this isn't a live performance I hope it becomes one soon.
  36. 1 point
    Thank you. Those were my main points when composing this piece. Please share it if you jam on it..!
  37. 1 point
    I just finished my new minimal work ''Sea''. I'd be so glad if you could give it a chance and listen. Any feedback is appreciated. Thank you..!
  38. 1 point
    Hi Emanuel I think it is quite good, excellent ideas, good pacing, moving from motif to motif. I would assume this might be for a video game.. Compositionally/arrangement wise - it is very good Ideas to ponder - overall there is a lot happening in the same octave. the sound get’s a bit muddy (low mids) you could EQ the lows/ mids out of a few things, and some hi end boost on other tracks. Do everything subtlety though. Not extreme. Maybe in a place or two use a different articulation on strings and brass. Now-a-days. I spend a lot of time choosing new instrument patches for the midi I’ve already laid down.. Many times, this makes the difference, instead of EQ’ing.. Or ‘open up’ some voicing. move the third an octave higher. Think in terms of water color painting. You have to be very careful when overlaying two or more water colors together cause it turns to muddy brown.. Same with instruments. If too many are playin in the same range, especially if they are playing different motifs, notes, it gets cloudy or muddy.. Sometimes you might want this as a ‘wash’ as they use in water colors, in which case they would be slightly softer so the instrument doing the heavy carrying can ‘cut thru’ without relying on EQ You use some ‘war drums’ through a fair amount of song and a section of strings/orchestra playing a syncopated rhythm.. You make good use of the re-curring rhythm, it anchors the piece. At ending you might consider drums doing a volume building up on the last two bars, with perhaps drums going into steady 16th notes (possibly some other instruments climbing a scale or to make the ending more grand/shocking. Depending on it’s use - game video, soundtrack, or just listening, more use of dynamics might help. You quickly get to one intensity level and stay there a lot. The composition, arrangement, choice of instruments is fine. I think you might have a situation with your monitor speakers. On my system (Genelec 8040’s) the whole piece is dark, Not enough high end, you have a section with a gong/cymbal build-up roll. They have very little high end. First you might play some commercial CD’s MP3’ of artists/material you aspire thru your DAW system. . Is your Sound matching them.. I’m not saying you need new monitors, you need to learn and understand how they respond. Once you know the quirks of your speakers/room you can adjust for that, and then you won’t have to EQ that much You could very easily put final mastering plug-in or just EQ and add a little hi ‘sheen’ to it.. I believe all the instruments, cymbals have the sound data there. Also try to take your mixes and play them on as many systems/speakers as you can, This are points important to me, others may not feel that way, like for instance, I don’t like grunge metal music, yet others love it. If any point make sense to you explore them. or at least understand what I said, then decide if you need to do that. Pat Patterson, at Berklee Music, said ‘There are NO RULES, only TOOLS.. It is Ok to break the rules or to follow them to the degree you feel comfortable. John Lennon said later in life, he would have gone back and re-record 2/3 of what the Beatles recorded, with the knowledge and sense he had 20 years later
  39. 1 point
    Maybe this will help: http://www.orchestralibrary.com/reftables/rang.html
  40. 1 point
    I love it! It reminded me of Chopin with the wide lefthand part and Mozart with some of the light melodies and runs but the overall character was definitely your own. Very nice job!
  41. 1 point
    A small test of Cinematic Studio sounds. Only the harp is from the other library.
  42. 1 point
    This song sounds amazing.
  43. 1 point
    Hello, i'm new on this forum. I would like to share my lastest composition. It's the first movement of my 2nd piano concerto, composed in A minor. What do you think of it ?
  44. 1 point
    I like the crescendos, the intro melody along with the sus vib notes from the cellos sounds epic. Definitely has a classical feel to it around the 2 min marker.
  45. 1 point
    @SilverWolf Thanks for the feedback! Here is the second movement, entitled 'Andante religioso.' It's mournful and redemptive, with hymn-like themes and swelling anthems. At times tender, at times dissonant, it continues the struggle to not be "overlooked."
  46. 1 point
    I like that it has a lot of varied articulations in it, a few of the chords I would have done differently (not sure of the name but it sounds like stacked m chords).
  47. 1 point
    This is quite an epic piece. very good.. perhaps some gentle EQ'ing on some tracks to clarify what the different instruments are doing. The low mids are quite dense ( bordering on getting muddy). Perhaps some of the strings play an octave higher, or voices. The movement and orchestration are QUITE GOOD..
  48. 1 point
    Focusing in on the section around the one minute mark, the counterpoint between the upper and lower voices was a little strained when there are leaps to and away power chords in the upper register (perfect fourths) in an unrelated key.
  49. 1 point
    This piece focuses too much on music theory. I here a lot of scales, a lot of Alberti bass, and many other music theory based things, but I don't hear YOU. All I'm hearing is different things you pulled from music theory. I don't hear the piece going anywhere, and it feels lost in what it wants to be. What do you want from this piece, first of all? Find that out first and this sonata will be much better. I don't see a theme, a consistent idea, or any direction. I think you need to focus on what you want from this piece. If you want to simply make a dedication to Mozart, he had Motives. Sonata K545 has a short motif that it begins with and then builds from. You start with Ode to Joy and then turn into scales. Build up your ideas more, and then you should be able to hear what you want from this piece. Right now, I'm not hearing YOU.
  50. 1 point
    This is great stuff! As a huge fan of classic Hollywood scores, I'd love to hear this and other works of yours played by live ensembles.
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