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Showing content with the highest reputation since 01/17/2020 in Posts

  1. 3 points
    I think the best word to describe my music is "neo-romantic." I write music that I feel is easy and pleasing to listen to - not necessarily 'light music' but not avant-garde. My style is not so similar to Romantic composers as to be reminiscent of any one, rather in a review I received here I was told that: "One minute I'm hearing Mendelssohn's influence, the next a little Tchaikovsky." I believe it was @J. Lee Graham who said that, a composer who is obviously also a traditional tonalist. My biggest works are largely Romantic. There are some minor 20th century inflections that I add, such as an unusual modulation or chord choice. I also like to utilise new instruments such as the Contraforte, or ones which slipped into obscurity during the Romantic period such as the alto trombone. NB: The alto trombone is a wonderful addition to the orchestral brass section. Listen to many orchestral pieces from the Classical era, including Beethoven's symphonies to hear it in action. In chamber works however, there is a larger scope of influence, especially from the music of Scotland, where I live. Classical pieces that I have written include sections with common Scottish musical ideas, and a string sextet that I am writing has the finale as a harmonised Strathspey dance. In the age of the internet and globalisation, we have a huge range of musical influences from throughout the world. Ethnomusicology is a growing area of study, and we composers have the freedom to write whatever we want, whether from orchestras with oboes and strings, or for ensembles with sitar, gamelan and electronics. What we should never forget is the universal language of music. Atonality has become common and respected, and this poses the risk of us tonalists being forgotten or actively disregarded. The worst thing that I could hear is not an experimentalist piece by Stockhausen. It's not a calculated serialist sonata. It's just four words: "Find your own voice." Who has the right to dictate anyone's compositional style?
  2. 3 points
    Just a little sad flute solo.
  3. 2 points
    Here’s another one with heavy Beatles influence. I’m interested to know how the balance is and if the bass is too loud. Thanks for listening.
  4. 2 points
    Gradually trying to work up the keys. This nocturne is again an update like the Eb major one was. Its taking ages. Not sure about the time signatures or ending. No slurs as the software treats the slurs as a pedal sometimes. This piece might be a bit of a mess but don't know. Feedback is greatly appreciated. Thanks very much.
  5. 2 points
    The most consonant piece I've done in a while, it's also somewhat sentimental. A Hollywood sound backdrop. Some of the string writing may be similar to the stylist George Shearing, though not so much in the jazz idiom, and with more open voicings. Part of the Hither And Yon series.. Please enjoy and offer your comments! HITHER AND YON Pearls Of Perception https://www.youngcomposers.com/t38915/pearls-of-perception/ Rain Dance https://www.youngcomposers.com/t38695/rain-dance/ Halliday Street https://www.youngcomposers.com/t39165/halliday-street/ https://www.youtube.com/watch?v=g2_eh54c2wg
  6. 2 points
    This is a really interesting conversation. I guess I never really thought about it because I'm a euphoniumist first, then a trombonist, then a tubist. Since everyone has given some great responses, I'll give my $0.002 Tuba: The tuba is the youngest and lowest brass instrument. Don't be scared of this awesome instrument. The tuba will round out the bottom end of your music so well. It can project as well be an additional foundation to your bass. Euphonium: Not a very common orchestra instrument. VERY common in band. Some people use this in when parts are written for tenor tuba. This instrument is the closest to the male voice (some argue trombone.) Even with that argument, it's more agile than the trombone because of valves. Trumpets and Trombones: Man, what a duo. VERY powerful instruments with much punch.. YOu can use them in so many ways. You don't have to relegate these awesome instruments to just fanfare type motifs. They are very capable of handle rigorous AND MELODIOUSLY warm passages. Don't look at stuff in the classical period as your guide for these instruments. The trumpets were not valved, thus very limited. Also, IN THAT TIME, people didn't realize the trombone could be a virtuous instrument. Horns: IMO, there is no better instrument that can "bring home the bacon" like the French Horn. There's nothing like giving the Horn a countermelody in ANY range and you feel it. I leave you with the GREAT RESPIGHI!
  7. 2 points
    This is interesting. Having in mind that music and composition for me is a passion and not my occupation or profession, everything changes. I write music as a personal adventure, and as a (potential) way to express my emotions (although only I understand the "meaning" of the music). I think I am eclectic to the extreme. I like to learn all the styles and techniques and use them all as composition tools. No matter if they are tonal, baroque counterpoint, modal, atonal, impressionistic, expressionistic, minimal, tone clock theory or whatever. This is something many people don't understand and dislike in my music sometimes. I don't see a problem when putting a a major 3rd over a minor chord. I have studied classic tonal music, but it has no longer meaning for me in terms of writing, at least as exact imitation of those periods. I respect the work of everybody, and I myself write tonal music, although I always try to introduce modern elements. So, I'm into contemporary techniques of composition. Not only atonalism, which is what everybody thinks when saying "contemporary". There are many many other ways to organize the music. I like to explore all of them, even mixing them.... And, in the end, what I search for is working with all that big palette of tools to translate some emotions into music. Hard, isn't it? That's why, apart from many things I compose as a training, I write less pieces now.
  8. 2 points
    Well said. Indeed we should just write the music that we want to! Composing began as a little pursuit for me, but now that I take it much more seriously I'm thinking always more about these things. This is a great discussion point you have here!
  9. 2 points
    I write mostly schlock; sometimes garbage. I'm not well-trained enough to give this any serious thought, and I don't think it would matter if I did. I would say, though, that the Late Romantic and Impressionist composers have the most influence on me, and that's the kind of music I try to emulate. It's not current, but that's what I like, so it's all good!
  10. 2 points
    Ok, I'll put in my tuppenceworth because yes, it's sometimes enlightening to learn how composers view their own music. I hope others add to it. The nearest popular label is Impressionist, when not being a hack. Not “programme music” though. I suppose by definition it’s atonal because I don’t write with key in mind though it can pass through tonal moments. I don’t use barlines in the initial stages of composing. Sometimes use coloured pastels on grey or black paper. It’s all sound organisation - sometimes with a utility purpose, sometimes for an audience whether live or public exposure as a recording. I’m not happy writing in keys unless it’s light music. Anything that makes a sound is a potential source. I rarely write for full orchestra now except to keep in practice and with the hope that the County orchestra might one day perform it. Otherwise I like ensemble writing, anything from string quartet to about 15 players. I’ve tried applying formal structures and usually fail. Tending to through-compose and working in motifs, it’s more about proportion to me. I'm hopeless at melody writing hence the few solos I've composed - at least to try. As I commented earlier, the music comes from my inner ear and the physical me is there to capture what I can of it. I suppose to those emotionally responsive it "comes from the heart" - mainly!
  11. 2 points
    I consider my own music to be a mix of Classical and Romantic values. Let me explain that further. My phrase structure often is in typical forms for the Classical Era, sentences and periods. But, I don't simply stick to chords common for the Classical Era. Sometimes I use an augmented triad, which I have heard some people call "the +5 chord" or "the yearning chord". Sometimes, if I want to achieve an ambient atmosphere, I use minor seventh chords, the most peaceful sounding seventh chords in closed position. Sometimes, I even use a root position Neopolitan or a second inversion Neopolitan. I most commonly use these as part of a circle of fifths sequence and with the root position Neopolitan, I resolve it down to the tonic, usually minor, as though it is part of a subtonic seventh chord if you know what I mean(so Db major moving down to C minor tonic for example as though the Db major is really just part of a Bbm7). I tend to concentrate on the melody and then fit the harmony into it. Though there are some pieces where I go the other way, starting with the harmony and then deriving a melody from it. If you look at my earlier works and then my later works, you can see that my earlier works tend to be harmonically simple, with most of the motion coming from a single melodic line. Whereas in my later works, you see a lot more motives and counterpoint and instrumental dialogue in general. And while there are some pieces where I'm like "I'm going to write this in the form of a Rondo" or whatever, a lot more of my works have become tone painting works. Even my second attempt at a symphony is itself a tone painting. The form on the small scale is like Mozart. The form on the large scale is like Chopin or Debussy, just flowing from 1 section to another. The harmony is a lot like Beethoven, especially in my minor key pieces and even more especially in C minor. The way that the melody is built is also a lot like Beethoven in quite a few works of mine, simple building blocks forming a complex melody as the motive gets twisted and expanded and contracted and as the rhythmic and melodic parts of the motive divorce and come back together. When it isn't like Beethoven, the melody is more like Chopin, virtuosic and ever so flowing. But even Chopin doesn't avoid melodic motives alltogether. An example of a more motivic Chopin piece is his C minor Prelude. Even though one could argue "There is no bit of melody, it is just chords" there actually is a melodic and rhythmic motive hidden within those chords. So I guess you could say that my music is neo-romantic because it tends towards Beethoven and the early romantic composers, especially Chopin in terms of harmony, melody, etc. with a bit of neo-baroque thrown in, as my counterpoint tends to be like Bach's, individual melodies simple, entire result complex and even virtuosic.
  12. 2 points
    Well spoken! It is really useless to continue this discussion. And I wish Donethur all the best with his composing. Your suggestion about discussing predicability and musicality is definitely worthwhile. These are extremely complex issues, but very interesting!
  13. 2 points
    To be able to critically validate your own work is probably one of the most important (and difficult) things for a composer to learn. And in this context, it is important to be able to validate and learn from negative comments. A lot of people seem to be only looking for praise, which is a kind of self-deception. A good rule is: Take your work seriously but don´t take yourself seriously.
  14. 1 point
    Some good points you have risen here. It does of course depend on the flautist. Even the particular instrument can affect how it project - headjoint cuts with more resistance project better in the lower register, and ones with less resistance tend to have clearer high notes. (Don't worry about that though - I was just showing how it can vary so much) Flutes and Oboes a third apart are common. However, owing to factors such as the particular register that it is in, this will sound best if both are divided. Woodwind players are well versed in playing in unison with different instruments, and it can really utilise the different tones throughout each instrument. Indeed I was. I have seen you mention it in a couple of posts and I thought it might be nice for you to emulate the scoring a little bit. 1. Yes, flautists will dislike a 4th Octave E. However, it's no worse than asking a piccolo player to play the top C - it's almost impossible to play. 2. Good idea, it's good to have these doubled. It makes it sound fuller as well. Alternative suggestions: You could simply have these as full tutti chords spanning a range similar to the arpeggio here. Or, you could have the arpeggio being dropped down an octave at some points. This would take the high range off.
  15. 1 point
  16. 1 point
    The announcement of the new movie really inspired me to compose a piece in the production style of early 2000s action-thriller movies like National Treasure and Tomb Raider. Let me know what you guys think!
  17. 1 point
    Hola colega, esto sí me ha gustado mucho. Es mi gusto personal pero prefiero esto que suena romántico sí pero con riqueza armónica, con tensiones. Tanto arpegio y tanto dominante-tónica lo he oído miles de veces (hablo en general), y algo por en medio es mucho más creativo. Es una pieza muy muy bonita, e interesante. sorry, in English Hi friend, I like this one a lot. It's my personal taste but I prefer this style, romantic but with harmonic richness and tensions. Too many arpeggios and dominant-tonic has been heard thousand times (I speak in general), and putting something in between is much more creative. Very very nice piece, and interesting. Keep writing!!
  18. 1 point
    I am very romantic in my compositions. I rarely write in any other style. The atonal music I was forced to write I tend to just keep stashed away :).
  19. 1 point
    All in all, not bad. I like the way you handle counterpart. I'd of loved to have seen a little more chromaticism here -winds handle it so well. I look forward to hearing more!
  20. 1 point
    Your improvement as a composer is very recognizable, great job dude.
  21. 1 point
    Hey guys, I recently did a cover of Roxette's 80s hit "The Look" with the original studio vocals. Perhaps it's something you'll enjoy. and if you just wanna hear my instrumental
  22. 1 point
    Dear all, I am writing a toccata for a piano composition competition. I just wonder if this piece is technically challenging enough to be a competition piece? Are the 3-against-5 unnecessarily hard? It certainly add some spice to the work, but I think most ppl will prefer 3-against-6/4/2 (lol) Surely I am not running out of ideas, but do you think the development is good? Btw, do you think the soundtrack has improved? (I applied the Spitfire SoftPiano VST for my first time, also studying those reverb plugins) Thank you. HoYin
  23. 1 point
    @Theodore Servin and @aMusicComposer countless thanks to both of you, I was afraid the piece could result too tricky as my older ones did in the past (for the sake of being contrapuntically horrendous), but anyway, done it's done and I'm so satisfied to read your comments! Edit: P.S.: the other fugue (F-sharp minor 3) exists as well. Thanks a lot!
  24. 1 point
    So... Somewhat astonishingly to me I've finished the other fugue I was working on today as well as the other one. If I had to tell which one is better, I would say this one is more varied in rhythmic terms, but that the one in F-sharp is overall more intense. Just one thing; I decided to use a subject by Bach, more specifically, that of the Fugue 5 of WTC 1, which is repeated three times throughout the fugue in each of the three different voices. I think it's fine, but anyone else may have their own opinion. Anyway, without further ado, here it is: EDIT: the subject by Bach appearing here is from Prelude 5 of Das Wohltemperierte Klavier, not the fugue. I was mistaken momentaneosly, sorry for the confusion.
  25. 1 point
    The first file is the piece in 120 bpm and the second file is in 90 bpm
  26. 1 point
    I would say it is important to adjust the accidentals within the music, as some appear beneath the note, often being quite confusing to read. Of course this won't be a problem if the musician is reading the tablature, but still it must be corrected. I do quite like it, but it doesn't feel really that bluesy to me. Is sounds quite pop-ish in is essence, while a blues guitarist soloes over it, which isn't bad at all. Perhaps studying isn't the only route. I find that in the popular culture, listening and playing is often more important. As a fusion guitarist, I often studied improvisation, and blues players would mostly study improvisation only. I mean, at least the ones in the past, maybe not anymore. Also, if you haven't done it yet, please listen to Steve Morse. He is a "virtuoso of the virtuosos", and is quite a great composer. He implements counterpoint into his music quite a lot, while still sounding really like blues/rock'n'roll.
  27. 1 point
    This reminded me of "Nem Um Talvez", composed by Hermeto Pascoal and released in Miles Davis' album Live-Evil.
  28. 1 point
    I don't know much about discordant compositions such as this, but it was a marvellous listen. Thanks for sharing this piece.
  29. 1 point
    Im assuming this is based on Handels Passacaglia in g minor considering it borrows ALOT of ideas from it. I think it does well in this context, however I would consider slightly changing parts such as m.46 in which it uses the exact same pattern as seen toward the end of Handels Passacaglia. It's always okay to borrow ideas, I just think it might be good to change it slightly so you don't end up recreating a piece, knowingly or unknowingly. Otherwise sounds good!
  30. 1 point
    Hey anyone have any feedback or suggestions for instruments to add to this?
  31. 1 point
    Basically like it as it is but some deeper rhythmic pointing after around 0'34" after the strings get wild might work. It depends what you want. If for example you imagine it accompanying/ portraying a scene with people fleeing or things flying away then be sparing. (Like Wagner's famous Valkyries, there's no real bass. It's big but airborne!). Also - just my view - drums pounding away would mess it up. So it would have to be a staccato/pizzicato accent in the bass carefully placed on a strong beat (which doesn't mean a regular beat). [edit] As for melodic instruments mixed above or around the strings my personal view is don't, unless you want to reduce their vivacity and impact. [/edit] Nice start. Very energetic strings.
  32. 1 point
    The descending scale in octaves offset by a quarter beat already establish the parallel octaves (parallel double octaves in this case). So I'm not overly concerned that this passage violates the sacred, eternal rule of no parallel octaves. My concern on the octaves is the tendency of strings to strengthen when playing at the octave. One only has to gander at the quartets of haydn, mozart, and Beethoven to see octave doublings abound in string writing- for dynamic and timbre purposes. My concern is that the bass is playing fast material that would fit more idiomatically in the viola part and vice versa. It's clear the composer isnt going for antiquated contrapuntal observation -even the first part isnt quite 16th century.
  33. 1 point
    Good Lord! Lucky it didn't ricochet. It might have hit someone in their Bb minors. .
  34. 1 point
    ¡Buen trabajo! The central section is rich in terms of modulation. Sometimes the chords are too thick and it makes the texture a bit odd. I always miss in this kind of pieces some variation in the pattern of the left hand. Yes, I know that's typical one, but there are many variations, just one would introduce interesting changes.
  35. 1 point
    Honest feedback? Too short to respond to your questionnaire. Game music when the hero is wandering around a town or between towns. Formulaic. Nice sounds though. Were you using loops/presets? A good start but you need to expand on it.
  36. 1 point
    Anyone have any opinions on my updated version?
  37. 1 point
    Fine melody, it goes well with the text. If you wnt an opinion from a Spaniard: The part "al que no era mi pueblo" in measure 10 and similar is OK because "al - que - no" are here unstressed words and the melody remains stable in th same note. The accent must be (and it is) in "e" (Era mi pueblo. The only thing is odd in m. 18 - 19: pueblo mío, pueblo mío..... MÍO takes the stress in the "í" but the melodía goes up in the "o" of "mío", and we would never sing naturally "mío" ending in a step up. Logical sound here is that "mío" ends in the same note "mi-o", or going down. Besides, if you let it as it is, it seems you are asking something (with a strange pronuntiation): ¿pueblo mío?
  38. 1 point
    Violin/voice not matching up with the piano's melodic suspensions becomes more of an issue as time goes on. Around 2:15, the new melody in the violin having entire whole notes on hypermetric positions 2 and 4 is really off-putting and momentum-halting when the alto parts don't have much meaningful material. Ending is not as dramatic as I think you may hear it. Sounds tacked on.
  39. 1 point
    @jawoodruff I used synesthesia
  40. 1 point
    Awesome as always, @Left Unexplained. I always find your sound very characteristic to movie soundtracks, and I think you are very well-prepared to follow that path if you will. The Danny Elfman vibes are often present, and I think this is no exeption. However, I feel like you are moving away from it and towards something closer to your own sound. Great job 🙂
  41. 1 point
    I want to get away from large, continuous blocks of sound. This piece may be their last stand before I change lol.
  42. 1 point
  43. 1 point
    I love the name and agree with Luis... the resilience of the motif over the harmonic tension is beautiful.
  44. 1 point
    I enjoyed this a lot. The range of ideas kept it very interesting throughout. I was a bit surprised at the start when after the intro it went to Eb major rather than G major/minor, but that's not a bad thing. Not much else I can say really, its lovely.
  45. 1 point
    Hello! I composed a cycle of three ponteios, which are the Brasilian version of a prelude. They are all in hommage to Camargo Guarnieri, along with my video about his life. Well, I won't say much about them, but I have thought them through quite well, so if you are interested in knowing more about what's behind each of them, feel free to ask! Feedback is always apreciated, good or bad. Thank you for listening, Cheers!
  46. 1 point
    I normally don't visit this section of the forum. The title is what really drew me in. I'm very sorry to hear about what you're going through! I can't offer or say anything that would help you, but I can tell you how much I enjoyed hearing your music just now. Your feelings came through very strongly, and I'm hoping for the best for you! Please take care and keep composing if you can!
  47. 1 point
    Cool piece! I wasn't expecting the cello solo! If you had shown me this piece and asked me to guess the title, I don't know if Cloudy Dreams would have come to mind, but I think it definitely fits. I also enjoyed the sound effects throughout. Thanks for sharing!
  48. 1 point
    Concerto per violino, archi e bass continuo in b minor "Paradiso e inferno". written 20.06.19 - 25.06.19. Been some time since i wrote a concerto, so here is my summer contribution. Three part concerto written in the late italian school. I. Allegro - paradiso: 4/4 time, livly tempo and fugures, high in the register of the violin (Heaven it is!), the triumph key of d major. II. Adagio - cadere dalla grazia (fall from grace) 4/4 time. slow pace, rethorical use of rets, b, minor III. Vivace - inferno, 4/4 time, fast pace, slaming fugres, chromatic downward passages (going down to hell), b minor Please tell me what you think SimenN
  49. 1 point
    Felt a little bit too long without significant change– when you get to the end, it sounds like a sort of end to the exposition of a sonata form or something. Like, it felt like that should have gone somewhere. I don't know, the intrigue you built a the beginning was great, but a little disappointing when it felt like that was going to be the status quo.
  50. 1 point
    This is kind of a piece I had written before knowing much about theory, but knew enough about composition and form to formulate a coherent piece. It didn't help me get into Oberlin so I'd love to hear why from you!
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