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Showing content with the highest reputation since 02/10/2020 in Posts

  1. 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.
  2. 1 point
    I have finished writing down the solo piano version of the piece that I improvised and am wanting to orchestrate. I mentioned it in the first post in this thread, both the piece and the orchestration: As I stated in that thread, it goes through 4 different emotions like this: Lamenting(Beginning C minor arpeggio and quiet melody) -> Dramatic(Loud, Beethovenian outburst) -> Hopeful(Relative major followed by modulation to parallel major) -> Joyful(C major at last, the music breaks free from C minor) It took me a bit more than a week to write down the piano score. Main reasons are distraction and just taking a break by composing another piece. The PDF of the piece has a lot of orchestrational comments relating to motives and instrumentation. There is a section where I have a solo in the bass clef and it feels like every measure has a different downbeat. This is the section: There are 2 different ways that I could express this downbeat change, consecutive time signatures and accent marks. This is what it would be if I changed the time signature consecutively: And that is just to match the downbeat with beat 1 during the solo. Wow is that a lot of consecutive time signature switching. At least it is gradually adding and subtracting beats to the bar and this excerpt is from the second slow section but still, that's a lot of time signatures in quick succession. And the sixteenths won't beam right in the 5/4 in Musescore. I have run into that issue every time I write in 5/4, that the beaming does not look right. For eighth notes, that's not much of an issue, but it gets much worse with sixteenth note beaming Whereas, if I were to use accent marks, this is where I would put the accents while keeping it in 4/4: Much simpler, since there are no time signature switches. However, would this sound like a downbeat when the full orchestra gets involved? Here is the score with the orchestrational comments and the MP3. What do you think of the piano score itself and my orchestrational comments?
  3. 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.
  4. 1 point
  5. 1 point
    Your welcome. It is the first time I have ever completed a piano score version of an orchestral work. I tried doing the piano score method with my first attempt at a symphony but: 1) I got distracted easily by other composition ideas like String Quartets, Fugues, Solo works, Sonatas, etc. 2) I didn't know as much about orchestration and counterpoint then as I do know 3) I didn't really go into the motivic part of the planning, I only had a narrative to go on And so I never got past the introductory canon of the first movement of that symphony. Maybe I will eventually finish it and my symphony numbers by composition date and finishing date will not match. Or maybe I won't finish it. But I figured that writing a small 10 minute piece for orchestra from a piano score could prepare me for writing a 30-50 minute long symphony, just like how writing a symphony would prepare me for writing a concerto or an opera. Because a symphony is a lot to take on. I mean it is basically like a piano sonata, but taken to the max. Concertos and Operas are even more to take on because you have to consider Orchestra vs Soloist for concertos and Soprano vs Tenor vs Alto vs Bass and Voice vs Orchestra for operas. If I can successfully orchestrate this 10 minute long piano piece, then combining that with my knowledge of how the sonata works, I should be able to write a symphony with few problems. And if I can write a symphony, then I think I can achieve one thing that I have always dreamed of doing ever since I started composing my own works, composing a piano concerto.
  6. 1 point
    Damn, I would love to see this being turned into a piano concerto. It really has a vibe to it.
  7. 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!!
  8. 1 point
    Trust me when I say if everything was tuned in fourths, it would be WAY harder to finger anything.
  9. 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 :).
  10. 1 point
    Kind of reminds me of Beethoven's variations in C minor which takes a simple harmonic progression and varies in a multitude of interesting ways but definitely with some Lisztian flair as previously noted. Well done.
  11. 1 point
    This has a very Liszt-like quality to it -that I love. I like the simplicity of your material -you develop the four note motif nicely (and with great interest). The harmonic exploration is also very much welcome -I especially loved the chromaticism towards the end. Good work -nice growth!
  12. 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!
  13. 1 point
    Your improvement as a composer is very recognizable, great job dude.
  14. 1 point
    I enjoyed the piece, I see some disconnection between parts, but that may be your intentions. A great complex work, I working for reaching that point, amazing job!
  15. 1 point
    Awesome! There are really nice ideas in here, and the piece sounds very complete. Perhaps it would be better named as "fantasia". The notation is a bit of a mess, but it just needs some work done, nothing serious. I don't see why you changed the key signature right at the end. Also the time signature changes sometimes don't make much sense. For example in M.40: you have 5/4 and then 3/4, while the last bar in M.40 could easly be placed in M.41. Why not keep both 4/4? Anyways, if played nicely think it would sound very entertaining. I love this kind of bubbly, dreamy textures you have going on here.
  16. 1 point
    Hey thanks for your tips! I felt like, even if nothing's truly original, my scores were too close to copying others, but I will take your advice and work on the parts of my music that truly feel "unique" and see if with some effort I can improve on my own work. Hope you have a nice day 😄
  17. 1 point
    Cb? Wow....hurt a musician, why don't you. Measures 41-47 could be expanding more. This piece was great to listen to! Look forward to hearing more.
  18. 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.
  19. 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
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