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Showing content with the highest reputation since 09/17/2020 in Posts

  1. Here my new piano piece in Romantic style. Does a Bagatelle fit with the character? I'm not sure of the title. Any feedbacks are wellcome.
    2 points
  2. Hello everyone, Again, it's been a while since I have posted anything, and I figured I might as well post something I'm currently working on, my Piano Quartet no. 2. The complete work is almost done, and will hopefully be out soon. The performance is at the Ameropa International Chamber Music Summer School in Prague, Czech Republic. As usual, I'm playing the piano part. I apologize about the poor quality of the recording. I hope you all enjoy, and happy holidays, everyone! 🙂
    2 points
  3. @Left Unexplained LoL - I know just the beginning of it. It's hard to find sheet music/tabs for whole songs for free on the internet.
    1 point
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  5. A very high quality video and soundtrack you've made once again! I like the various artwork and effects. Is it just me or are some of the voices slightly out of tune in some places? I like your change of key at 1:55. The only thing I miss in this is that once you're in a certain key you basically tend to stay in that key. Even when you change keys you do so abruptly without any transitions. You manage to return to the original key as well but once again without any transitions ... it would have been a good opportunity to use some chromatic chords out of your key that could have been lace
    1 point
  6. I don't particularly like 1812, but if there is one piece that everyone else likes and I don't, it's Vaughan Williams' The Lark Ascending!
    1 point
  7. I like Zimmer's soundtracks. For what they are, they generally work well as music for films. perhaps my standards are lower in that context. I'll admit I find the Gladiator soundtrack very catchy. In my opinion, the finest example of a soundtrack in regards to both popular appeal and high degree of originality and quality of music in their own right is Bear McCreary's music for the reimagined Battlestar Galactica series. Not a single mediocre track in the lot.
    1 point
  8. Interesting analysis @PaperComposer. I never thoght of that being a sonata form. For me thats a typical ABA short piece, main theme starting on mesure 2 with the dotted rythm, and mesures 8-12 I see as a development of the second half of the main motif (second half of mesures 3 and 6). I like the effect of grouping the bar 3+3 at the begining and than mesures 8-23 the music ideas are group into 2 mesures phrases. I agree the 2 bars after the recapitulation are a bit awkward. Fist I tried to make the repatitulation directly after the dominant suspension 46, but it was to abrupt to me. Tha
    1 point
  9. Guess I'm a bit late to this party, but I was absolutely blown away by this. I'm curious out of the eight or so pieces that they selected what could have beat this out. This belongs in some sort of YC hall of fame, this is wonderful and brilliant. Thanks for sharing. In the end, I think competitions are a good motivator but sometimes they fail in their ranking of top talent. And by top talent, I mean those who have truly searched and continue to do so to find and polish their own unique musical voice. The precursor for their success is probably ticket sales; maybe they were looking for so
    1 point
  10. Hey, about 5 weeks ago some friends told me about a composition contest is launched by the Xalapa Symphonic Orchestra, (Xalapa, in the state of Veracruz, Mexico) which is one of the most important and respected orchestras in Mexico, with very high level players from this country and foreigners, with an European conductor. This contest sounded like a very good chance to get a piece performed since they said not only one piece will be selected, but 8, and they are open to see the composer cataloge, anyway, I didn't delay much and started writing exactly 1 month ago, an piece in Overture for
    1 point
  11. Hi again! This is another one of my dances that I recently found in my old archives and managed to finish (albeit a bit awkwardly - I think - could you let me know what you think of the ending?) It's a Bourrée in F minor for String Orchestra. Usually Bourrée's are supposed to have two eighth note pick-ups (as opposed to Gavottes which have four eighth note pick-ups) but I thought this still qualified as a Bourrée because of it's character. So let me know what you think! I composed this many years ago but am still open to constructive feedback in whatever form you wish to give it!
    1 point
  12. Nice! I definitely get a baroque dance feel from this piece. The melodies are nice and catchy and you develop the motives very well. I think it works fine. An alternative I thought of would be to use the below motive in some kind of cadential form, since it's so important throughout the piece. Perhaps instead of the descending scale at m.64, insert this motive and end on the tonic? Another idea would be to end on a picardy third, since the piece has been solidly minor throughout. I also really like your counterpoint, you do a really good job passing the motives between voice
    1 point
  13. You managed to pack so many changes of mood into this, from the jazzy little moment at 109 to the dance-like section at letter I, without it getting too scattered. It's really very well done. And bonus points for a tidy score complete with expressive markings. You've clearly thought about all the small details, and it makes such a difference, particularly for a competition challenge where you had a time limit to polish up your ideas and a longer piece. Well done!
    1 point
  14. 10 My beloved spake, and said unto me, Rise up, my love, my fair one, and come away. 11 For, lo, the winter is past, the rain is over and gone; 12 The flowers appear on the earth; the time of the singing of birds is come, and the voice of the turtle is heard in our land; 13 The fig tree putteth forth her green figs, and the vines with the tender grape give a good smell. Arise, my love, my fair one, and come away.
    1 point
  15. @luderart it sounds very nice to me. Though you are moving the basse in paralell octaves with the tipler at times the harmony sounds interesting. I like the low register and the mood. Thanks for sharing!
    1 point
  16. No one said it was "bad", mate. Just some suggestions on what I think could be improved on 👍
    1 point
  17. @ClasiCompose Also - I hope you noticed I used Sonatina Symphonic Orchestra to record this. I have to say I'm much more satisfied with the responsiveness of the string ensemble soundfonts. Thanks for referring me to it! It's proved a great help.
    1 point
  18. Hi pateceramics I remember hearing some of your music from a while ago when I was active here, and from what I can remember it sounds like you've become quite the choral composer. Your score looks beautiful; as someone who doesn't write choral music, it's nice to see it laid out so clear and easy to follow. I really like your use of dynamics. You use the choir well, giving different voices their chance to stand out a bit. I think vocal music suffers the most from midi sound samples, and definitely doesn't do your piece justice. Are you part of a choir or do you know of one that woul
    1 point
  19. Beautiful work, nice counterpoint. It feels like a dance for me. My personal handicap with this style (composed today) is that I have the feeling of something predictable. But that's me....
    1 point
  20. Lovely! I'd like to know what the words are as well! You use every inch of the standard soprano range here. This piece will be a lovely show piece for many singers, but you would open your works up to more voices and potentially increase the number of performances, and the quality of those performances if you were slightly more conservative in your use of range for future pieces. For singers, the body is the instrument. If you have even a little cold, you tend to lose the extremes of your range for a few days. If you want to go this high, but don't also go quite so low, singers and
    1 point
  21. https://www.youtube.com/watch?v=lUPc-VbKrxQ Hello everyone! Here I am again with a new chamber piece. This is the last part of a 5 movements work called "Cancoes Brasileiras" for Saxophone Quartet. I composed this piece after a trip I had to the beautiful Brazil and it's a sort of tribute to Villa-Lobos and Tom Jobim. Each movement has a really simple structure, hence the term "cancoes" (songs). This one in particular is a deconstruction of "Garota de Ipanema". I hope you enjoy it!
    1 point
  22. Recording stuff from when I was younger, and still obsessed with Beethoven! So heavily influenced by Ludwig. 2nd Movement to follow soon! Hope you enjoy. https://youtu.be/uKxwqPNcmFw
    1 point
  23. nice piece. u are good at giving separate identities to instruments, there are nice counterpoint textures(i see this in ur other pieces, did u take counterpoint lessons? ) fa minor seems depressed to me mostly, I don't know if it's suitable for dance, but musically beautiful. it doesn't feel like ending to me because you move the last notes one octave up, but this your choice , just my opinion. thanks for sharing
    1 point
  24. Are you able to upload a pdf of the score? I can kind of guess what most of the instruments are but its really hard to read at the size in the video. I'm guessing the instruments above the strings that have the sixteenth not figures at the beginning are various mallet instruments? I like alot of the ideas you have here, I think they are just in an unrefined form. For example, I think the opening passage would be very hard to balance, with about seven different instruments on the sixteenth notes and the melody in just one flute. Since all the mallets are marked ppp, maybe reduce it to just
    1 point
  25. thank you for the kind words. I guess Im used to being right on the line of meaning and chaos so I am hesitant to go back to my old ways of not "following through" with my ideas. But I think transposing it to d minor might sound really cool so Im going to try that. Thanks guys!
    1 point
  26. Thank you, @Left Unexplained! I'm glad you like my style! 😄
    1 point
  27. I like the neo romantic harmonies and the chromaticism that goes beyond that. It is really something to watch you flow. Bigly amazing... bigly!
    1 point
  28. Thank you so much, @PaperComposer! I'm glad you liked the piece! If you like, I can send you the score for this movement over PM.
    1 point
  29. Notationwise- you should use several voices instead of one voice with slurs. Regarding harmony- *you might want to use more daring intervals rather than sixths and thirds all the time. I saw some seconds too, but some more could give you... more spice. *You come back to the tonic in it's most complete and basic form far too often in my opinion. You might want to travel around a bit, maybe even transpose, end on different tonics or maybe a tonic with the "wrong" bass note, just to give the feeling that "we're not done here just yet". About that: I believe that: 1
    1 point
  30. The passion and emotionality of your music is something that I feel my own music misses. I think you use the theme well to create very intense passages that are constantly contrasted with well chosen harmonic changes (do I hear chromatic mediants?) I wish I had a score of this to read to verify my own curiosities about the harmony that you use so effectively to create such intensity. The harmony keeps it constantly new. The long denouement is appropriate for this style. You seem to do well with writing very soft endings which my own music lacks. I think this is the best piece I've heard
    1 point
  31. @Rabbival507 Thank you! This is very constructive criticism and I will definitely make use of your advices. Not that some time passed, i agree with everything you said. Song definitely suffers from being too repetitive and orderly.
    1 point
  32. @GenStar Where are the solos? I agree with @Mitchell, you should have more dynamics. I did listen to the song till the end but the lack of change in dynamics/energy made the song feel longer than it actually is. I mean, every song has to give the listener's ears rest at some point. At least that's what I think. ( Other than that- great work really. If you shorten some parts and stack it all together, change dynamics etc it could fit real well as an actual song as well as background music for a game or a movie
    1 point
  33. @Arrogant Can't really imagining myself fighting sephiroth, kafka, ardyn or sin with this playing in the background. It really depends on what you have in mind. I think that's too static for a boss fight, I mean, three chords don't really feel like much of a progress or unstable-ness or any sort of satisfying discharge. Think about the player having to go through so many necessary fights in order to get to this one powerful enough. Change the chords, transpose scales, change the instrumentation, add heavy fearsome basses of a heavy/heavily armed boss, add runs for to give a tast
    1 point
  34. Beethoven and Bach are my go to "teachers" when writing music regardless of the genre or style. If I'm actively trying to write in the classical style, Mozart of course. That pianist list is missing a few younger pianists who in my mind are or will certainly end up being among the all time greats. Yuja Wang, (who I think is the reincarnation of Horowitz), and Daniil Trifonov are exceptional pianists. Charles-Valentin Alkan, a contemporary of Liszt and Chopin, was considered every much their equal, perhaps more so in regards to technique, and his music is notoriously fiendishly difficul
    1 point
  35. @PaperComposer Thanks! Yeah, fitting the samples squarely into the phrases was a little tricky. It involved a lot of tinkering with the tempo, down to the decimal level of BPM. The dark one titled "Syrinx" is a sample of a Debussy solo piece of the same name. It's a pretty cool little piece. I gather that flute soloists sometimes use it as an encore piece after concertos
    1 point
  36. Once again you show your unique harmonic aptitude in these miniatures. There's plenty of secondary diminished chords and augmented 6ths chords and delayed resolutions to the tonic. Your pieces remind me of Schubert's "Moments Musicaux". Your ternary form no. 10 is perhaps the one that reminds me the most of Schubert and it's also my favorite of the three. I just wish you placed more importance on writing a truly memorable melody. It seems like right now you're writing your melodies with the intent of demonstrating your proficiency in harmony and form, which is fine I guess but I think if
    1 point
  37. Thanks you Mike, I'm glad you liked it, I do appreciate it. PaperComposer, Thanks a lot for you comments, I appreciate it. I do feel there is some variety lacking in the piano developments and the cadenza could be longer as you say, take in more of the developments. Also I want to change the recapitulation a little, but I got it to a stage where I think the bones are good, and I never stop tinkering with these things, so by the time the 1st and 2nd movements are ready, it may well have changed a bit. The opening (theme) does make a return in the cadenza, but not anywhere else, I d
    1 point
  38. Hi all, I've not posted anything for over a year, been busy with other things, but I have also been working on my second piano concerto. I have the bones of the 1st and 2nd movements, but there is still a lot of work to do on those. I do however, have the 3rd movement finished (barring a few minor edits that might arise over the next few weeks), and so I thought I would like to share this with you all. Thanks for listening. It's a bit more modern than my first piano concerto, I wouldn´t say contemporary exactly, and like all of my work, it is a tonal, classical piece. I hope you li
    1 point
  39. Very nice and consistent piece of music. I love the main motif and how you start just with the piano and then it growns with more instruments to finish just with the piano again. It feels very natural and nice. Good job!
    1 point
  40. A very lively piece! It seemed like you could have milked the E section for all it's worth to extend the length of the piece and give it a bit more development. You rarely build longer melodies in this - it is mostly motivic - a feature that I enjoy about as it gives it a sort of brevity and conciseness - but it is hard to build a longer piece out of these kinds of short motifs. When you do establish a longer melody it is quickly interrupted by the motifs instead of letting it develop into a longer phrase structure - maybe you intended to do that kind of juxtaposition (it is a cool idea) bu
    1 point
  41. This song is so great! You did a good job. 😁
    1 point
  42. This is a piece I wrote a little while ago and forgot to post. It makes me think of my childhood home; hence the name. I know that the harmonies aren’t too advanced, and I gladly welcome advice or suggestions as to how to complicate it a little more!
    1 point
  43. Love it. Beautiful music and I love the sound fonts.
    1 point
  44. I think the guitar needs to be a little more present in the mix in spots, especially at around 1:00. That's where I heard that guitar doing some harmonic flicks (I don't know what they're really call, but I always love them in metal when I'm listening to metal) but they were really low in the mix. Then in spots when the guitars are doubling the strings, it's good that they blend more. I guess what I'm asking for is more dynamic dynamics 😄 The harmonic shift leading into about 6:00 is juicy. That was well placed imo. If you plan to record vocals, is there any plan to record guitars/dr
    1 point
  45. As an experiment, I wanted to compose a piece for soprano saxophone, as my friend plays the instrument. It begins in a drifting, dream-like state with the strings providing a variety of colors. From the conclusion of the dream-state, an idea in the saxophone is presented. In a story type manner, this faster theme is progressed until it devolves back into the dense strings again with the initial iota being reiterated. This becomes an intense outburst at full volume until it ends quietly. The music begins again, replicating the three-movements of a concerto on a miniature scale, rein
    1 point
  46. I couldn't shake the feeling there was some hard-to-identify timbre in there. An organ was my closest idea, though silly in hindsight. I agree that the whole thing contributes to the impression, but I'm guessing the bassoons and flutes, maybe with somewhat sudden attack and release, contributed most. The harmonics glissandos probably add a bunch of harmonic complexity very subtly. I really dig how the timbres add up to create a whole that's much more than the sum of its parts, so I hope the tone will be at least as mysterious in a real performance.
    1 point
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