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Showing content with the highest reputation since 12/24/2020 in Posts

  1. Okay, so today I was feeling pretty bad and for some reason I thought I needed to improvise something dark using the Dies Irae theme. I wanted to portray my feelings in the freest possible way but at the same time record it just in case something interesting would happen. This wasn't my first take, but I didn't do many tries either, so you can be sure that 97% of it is pure improvisation. Anyways, share your thoughts about this. I know it is pretty mediocre compared with good improvisations, but I'm still an amateur and I don't have tools that would be helpful like perfe
    3 points
  2. So I wrote this hoping to base all of the melodic material in my piece on the original theme by Yoshimatsu (Waltz of the Rainbow Colored Roses). However, I deliberately didn't listen to the original piece (only the first couple of seconds where the fragment of the theme is presented) so as to, hopefully be inspired only by the fragment and allow for more possibilities which might have been tainted had I known how Yoshimatsu developed it in his piece. I came up with many versions of the theme in my musical notepad and then more extensively in my notebook without really any idea of how I was g
    2 points
  3. I suppose this comes back to using instruments well - keys which take lots of instruments low into their range will sound heavy and muddy. Sometimes the only option is to transpose it, but this might affect another instrument! That's why, when writing for a group of instruments, you need to be thinking about their ranges from the start to make sure that your piece will fit nicely under them. In my workshop experience, I try to write idiomatically for the instruments, in keys that will suit them, and this has been picked up on a few times.
    2 points
  4. Piano piece I made a little bit ago. Nothing fancy. Let me know your thoughts!
    2 points
  5. Hi, after having studied John Field's 18 Nocturnes, particularly his left hand patterns, I wrote a couple of short, tonal, and simple pieces However I couldn't help it, and some "more modern" harmonic changes are present. Or some kind of metric modulation. And other devices. I was interested in this composer as the father of the Nocturne.
    2 points
  6. First time writing for an ensemble this big, took a while, includes a small cello solo. Let me know what you guys think!
    2 points
  7. Hello everyone, and a belated Merry Christmas. Thank you to everyone who was involved in putting together this competition, particularly @Tónskáld, who managed the member voting survey, and @Monarcheon, who selected the list of themes that members voted on as the subject for this competition. Thanks also to all of the entrants for their fine submissions and all who voted. I hope that everyone is pleased with their finished works, regardless of whether they won or not. After all, that is the purpose of these competitions – to spark creativity with a bit of friendly competition. Please feel
    2 points
  8. Thanks a lot PaperComposer for your comments. I agree that there are some similarities when comparing the harmonics and the kind of rag-time like rhythm, which Debussy has used in his Golliwags Cakewalk. But he was actually not the composer who inspired me to write the piece. It was Nino Rota. I suppose that this was difficult to guess. You may be right that I over-complicated some of the harmonies. I have not composed something like this before, and I agree that my writing has to improve. Thank you again for your valuable feedback! Thank you very much for y
    2 points
  9. I'm just starting on this forum and just wanted to share a piece i made recently.
    2 points
  10. Great job! I love the major/minor cross-relations you make in the melody in the beginning on saxophone solo. I once had an idea to combine the Polish National Anthem with the American Anthem in a sort of variations piece that would be titled "The Polish-American Heritage Anthem". That piece never came to fruition (it was a little too ambitious for my abilities as a composer at the time I think). Glad to hear your attempt was quite successful! The piece was definitely in good taste and never ventured into any kind of sacrilegious territory so well done!
    2 points
  11. Thank you for this. 🙂
    2 points
  12. Yes, I can send the vote tally for your respective pieces in a private message. As for the tallies of the three winners, I'll see what I can do.
    2 points
  13. Nice job! Where's the score? LoL I voted for your piece for 2nd place because I felt there were other pieces that developed the theme more fully. You definitely had the most unique reharmonization of the theme and overall won my greatest overall impression that the music made on me. You chose to tell a unique musical story after the presentation of the theme but I didn't really feel like it was really related in any way directly to the theme. I felt like you could have used the theme more extensively throughout your piece and maybe explain the story behind the title and the lyrics mo
    2 points
  14. hello everyone, I am back, this is my new piece in Japanese traditional style, hope you like it. instrument: koto & piano koto is a kind of picking string instrument the video: https://www.bilibili.com/video/BV1rA411s71K/
    2 points
  15. I understand where you're coming from, but I think my argument has been misinterpreted. In no point of my answer was I implying that a piece I made would not win or be hampered due to bias, I stated clearly I am not trying to downplay orchestral works, or trying to blame external factors for faults that I've made in my composing. My intention of typing out such a lengthy post was to ask for a traditional judging component as I felt that it would minimise at least some bias as aforementioned. I am not trying to abolish such a system, or deny its benefits as stated very clearly in the last parag
    2 points
  16. Thank you very much! I definitely am very much influenced by Mozart's Requiem when I was working on it. I do think this is one of the better movements in terms of having the music reflect the text. Thanks for the kind words! The vocals are from Symphonic Choirs by East West which has a word builder that allows articulation of words which sounds really great but very tricky to implement properly. A very kind member here (who unfortunately isn't really active here much any more) who was more experienced with it generously helped me with it for this and the other completed movements.
    2 points
  17. Just trying to make this Swedish folk song into a boss fight for my Nordic dnd campaign, any reviews as to how to continue this one are welcome :)
    1 point
  18. Thanks! btw concerning the lydian mode I've heard @gmm comment that even lydian can sound dark .. I guess it's all about how you use it. EDIT: Have you seen the modes organized by their supposed respective darkness or brightness? Lydian is supposedly the brightest mode on the scale.
    1 point
  19. Oops! Sorry about that. I spotted the error in bar 10 - the high G#. Can't let that go without putting in right. (Hence it's always useful having a chance to practice input from a score!) Here, the corrected files: It's an accomplished work. Here's hoping you can have it performed live.
    1 point
  20. The title is very appropriate for this piece. I feel like it portrays the melting ice really well especially in the last decrescendo. The 3rds in the high register sound like dripping icicles. Sounds like music that would be perfect for an icy cave in some kind of RPG. Maybe some reverb would help that impression too though. Great job!
    1 point
  21. This is an arrangement of Pure Imagination from Willy Wonka and the Chocolate Factory. It’s in 5/4 (besides the weird little interlude in e minor) There’s some mistakes in the recording, and I haven’t actually written most of this down yet. So a portion of this is just half-improvisation from memory. This isn’t the finished product
    1 point
  22. @YakoB Look- really, I'm not sure what you tried to achieve with the piece. To me it just screams "cliche!" which is... fine in some cases I guess. I'd try to get farther away from basic left hand patterns, all those useless octaves etc. Try to organize your melodic material better in a way that it doesn't sound like an improvisation (you know, the patterns etc.) The fact you haven't mentioned anything about what exactly it is you tried to achieve doesn't make it easier to try and guess. To me it sounds like what you'd get if you googled "emotional piano pieces" o
    1 point
  23. i don’t really know what to say, besides that it was really good
    1 point
  24. It may be a cliched answer, but I guess I'd say the slow movement from Beethoven's A minor quartet, Op. 132:
    1 point
  25. https://en.wikipedia.org/wiki/Axis_system
    1 point
  26. I think it does in fact do a chromatically ascending whole tone trill in the very beginning just like you said. It sounds pretty cool - perfect for when the action in the movie is developing but how it will resolve is yet unclear, if that makes any sense at all.
    1 point
  27. Olov , love the suggestions . I am not the best with recording at that time and try to just capture her improvising . Super appreciate your comments
    1 point
  28. Wow this is quite rich harmonically! You create an otherworldly atmosphere here with the polychords and glissandi you employ. I feel like I've been transported to this Carcosa you mention. It doesn't creep me out though - just a mysterious feeling. I think this recording is quite good despite the difficulties you mentioned. Maybe someone with more experience with mixing might find more to criticize on that front but I enjoyed it. Thanks for sharing!
    1 point
  29. This is lovely. Sounds to me as something that might have come from 1770s. I would like to see the score. Overall this is well structured. The opening statement is reminiscent of the same from one of Mozart's (I think). Do upload the score if possible
    1 point
  30. Good luck! This waltz sounds like "música de salón". i like it. The middle part loses the melodic feeling a little bit but that's nice.
    1 point
  31. Nice job! The end sounds like after the choir ends there could be a faster denouement for just the strings and oboe and continuo. I don't know if that's common for pieces like this to end that way - maybe I heard an ending like that somewhere in the Baroque era before? I enjoyed listening so thanks for sharing!
    1 point
  32. Hmm have you tried using invisible accents? The accents (with tenuto) increase the dynamics for a particular note temporarily for Musescore so you could use that? But it does come with its own side effects like sounding too forceful. It appears that this is an issue with most notation software, note just Musescore, as sudden cresc. and dim. are normally not well articulated. The other option is to put in an invisible dynamic marking on that note and put another invisible dynamic marking on the next note with invisible crescendos and diminuendos between
    1 point
  33. I will be happy to provide feedback; however, owing to the length and complexity of some of these submissions—and the fact that I have some impending deadlines approaching outside of this forum—it will be some time before I'll be able to actually sit down and compile my comments. My best estimation is after the second week of January. I apologize for keeping you waiting that long and hope you are understanding of my circumstances... 😬
    1 point
  34. Beautiful feedback! Thanks a lot 🙂
    1 point
  35. Hi Malum, What I liked most: * the variations at around 1'00, then at 1'20 What I liked less: * the introduction (up to 1'00) is a bit too long and repetitive (especially the accompaniment) * overall, too few variations (the theme is too often repeated, without major changes) * the end was really too brutal (it feels like it's not been completed) Thanks for sharing!
    1 point
  36. I love this clam music. I listened it several times. 🥰
    1 point
  37. Thank you! I am glad to hear that you found my style in this piece unique. When composing, I felt like my melodies were inspired a bit too much by video-game music but I think I orchestrated it quite differently than that. I think you're totally right about all that - I just do not have the capability to do anything about this currently with MuseScore 3. I am hoping however, that when MuseScore 4 comes out some of these capabilities will be added to the program as it will be both a notation program and a sequencer simultaneously from what I heard. Thanks for your input!
    1 point
  38. In the last months I worked hard at my first small symphony. Spending some forgotten hours late at night to write notes in that marvellous app StaffPad. Slowly the story came to life. With this composition “The Boy Who Wanted To Fly” as an end result! I really challenged myself this time. I wanted to compose a classical story. A symphonic story. One that takes you by the hand and feeds your imagination. You have to know, I'm still a beginner. This is the second composition I wrote by hand. So any feedback, advise is much appreciated! About the process, I wrote it by hand in Staf
    1 point
  39. Hahaha thank you! I really did enjoy your piece as well and it was really done!
    1 point
  40. In meas. 42 I felt like it would have been cool if the bass voice played an Eb on beat 2 to transition between the E natural and the D. I think the pitfall of including so much free counterpoint in your fugue is that the associations between the subject and the surrounding material are lost and everything starts to be perceived as a sort of contrapuntal noodling. I know you said you included lots of invertible counterpoint but if you don't give the listener space or a melodic hook to let them know they're hearing something familiar then they get buried in the complexity of the incessant coun
    1 point
  41. Okay! I've tried to lighten up the pizzicato accompaniment and also improved the counterpoint and some of the voiceleading in the middle. I think I'm satisfied and I feel the piece is complete now. Thanks for your help!
    1 point
  42. I think all the parts work really well together! I really like how you harmonized the main theme in the beginning by starting on the subdominant (or is it a supertonic in 1st inversion?). Just by looking at the theme by itself that kind of approach is unexpected and it really gives your main theme harmonic freshness. The part that I would modify if this were my composition is the part where the viola melody is accompanied by the rest of the ensemble pizzicato. it seems like just straight quarter notes makes it sound too march-like for me. Really quite an enjoyable and quaint little theme
    1 point
  43. Thank you for your feedback! That's a tough question. I guess I did it for three reasons: I thought it would be fun. I thought I'd learn something from the experience. I hoped the end result would be art. So if I only accomplished 2 out of 3, that's still something I suppose. I love Bach, and this work is my personal homage to his genius, and my quest to crack his secrets. I learned so much about composition from this project. Stepping into his shoes for a bit, playing with his materials, allowed me to see how he solved certain compositional puzzle
    1 point
  44. I understand, and it's fine. I probably shouldn't have brought this up at that time, I apologise and will take note of that in the future. Thanks for your understanding!
    1 point
  45. Thanks for the observation I forgot to correct that Eb. About the breathing, I know is hard that's why I played it at 100 BPM, because the original 120 are almost imposible for me.
    1 point
  46. Shouldn't the Eb in meas. 47 be a D#? Great job! Although I think there are many extended barrages of 16th notes without really a place to breathe. You must have circular breathing abilities to have played through this... Well done!
    1 point
  47. Hey guys. How are you all doing? Hope everything is fine and well. Here it goes a new song... ''My Last Rock N' Roll''! ======================================= My previous songs: https://www.youngcomposers.com/t35836/new-sound-delicious-grace/ https://www.youngcomposers.com/t37009/delicious-grace-the-boy-from-memphis/ https://www.youngcomposers.com/t37305/delicious-grace-chaos-and-shame/ https://www.youngcomposers.com/t37476/delicious-grace-nocturnal/ https://www.youngcomposers.com/t37761/delicious-grace-queen-of-england/ https://w
    1 point
  48. A short fugue I have written. I would like some comments regarding the molodies of the different voices, harmony and if anything feels out of place. I do not have sheet music for the fugue.
    1 point
  49. Bravo @yuchanbot. Really nice piece of music!
    1 point
  50. I voted no but I have a synesthetic friend who would disagree. In a sense, the keys have different "colors" to me. D-flat major is sea green, F major is sky blue, D is bright red, for example. I don't, however, see these colors as I'm listening to pieces as they play—even "simple" pieces use so many chords that it would look like fireworks in my head. I think the colors have come about because of a visual association with a sentinel piece in that particular key. Fun to think about but not practically useful at all. Choosing the home key (for me) depends largely on the instruments and thei
    1 point
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