Jump to content

Leaderboard

Popular Content

Showing content with the highest reputation since 10/17/2020 in Posts

  1. Here my new classic rondo in ABACABA' form. A has more a melody and accopaniment texture, while B and C have more counterpoint texture with some rythm and interval interplay violin-cello. Hope you enjoy it. Any comments are more than wellcome.
    7 points
  2. The Ballade in E-flat minor was written in 2021. Though it is written for solo piano, I had intended to write it for piano and orchestra, and may make a version of it for this ensemble in the future. The piece is about 8 minutes long. I hope you all enjoy it 🙂
    6 points
  3. A short violin tune. I tried to make it sound very-very dark this time.
    5 points
  4. Hello, Fuge a3 in c minor written for organ. North german style. Please tell me what you think.
    5 points
  5. Double fugue in gminor scored for 2x oboe, 2x bassoon in g minor. I think i will rearrange the fugue for two pianos... Written in the mid baroque style, so dont exptect those bach episodes 😉 Please telle me what you think. SimenN
    5 points
  6. Good evening everyone! I'm ready to present a new piece I have been working on for the last couple of months or so: Adagio for Orchestra. It’s a relatively short piece, not as large in scope as some of my other works I have posted here. Admittedly I’ve had a little bit of writer’s block recently, so I toned things back quite a bit and instead focused on simple themes and experimenting with an expanded orchestra, including Euphonium and Saxophone with the usual instruments. I'm interested in any and all constructive feedback. I had a few goals in mind as I composed this, feel free to chime in on how well I accomplished them: Focus on simple, memorable themes. Experiment with orchestration, using auxiliary instruments to create some unique textures. Integrate Euphonium and Saxophone with the rest of the orchestra. Write something that would work as a middle movement of a larger work, such as a symphony. The piece is loosely structured in a binary form with repeat (ABAB). (0:00 - 1:09) – Introduction. Euphonium solo that is passed between and elaborated by other members of the winds, punctuated by sweeping string lines. Most of the thematic material from the piece is extracted from this opening solo. (1:09 – 2:41) – A Theme. A melancholy dirge carried by a bell-like ostinato played by harp, celesta, and piano, with rustling tremolo in the strings and an eerie chant in the winds. (2:41 – 5:00) – B Theme. A floating theme first presented by the oboe then embellished by the strings to the first big outburst of the piece. Material from the A Theme is elaborated here, then the strings carry the oboe theme to a new momentary high, before settling back into the recap. (5:00 – 7:11) – A Theme recap. The dirge returns, this time building to a euphoric climax, then drifting away into the upper register of the woodwinds and strings. (7:11 – 8:13) – B Theme recap. This time the clarinet sings the theme. I experimented with some polytonality/polymodality/whatever-you-want-to-call-it with the chords in the horns, trumpets, flutes, keyboards, and harp. I’m curious how well I pulled this off. (8:13 – 8:38) – Coda. Return of the Euphonium solo, this time drifting off into silence to end the piece. As usual, I have few specific questions I would like specific feedback on. Feel free to answer as many or as few as you wish: What effect does the music have on you? Does in conjure up an image? Or an emotional feeling? Does it tell you a story? This can be the piece as a whole, or a specific part or parts. What was your favorite part? What was your least favorite part? Do you have any comments or critiques on technique, e.g. harmony, melody writing, counterpoint, orchestration, voice-leading, etc.? How do you feel about the overall form? Is it effective? How well do you think the euphonium and saxophone are integrated with the rest of the orchestra? How do you feel about the harmony in the B theme recap (the nondiatonic chords against the melody in the clarinet)? Is it effective? Do you have any comments of the quality of the performance in the audio file? I really want this to be a decent representation of how the piece would sound if it were performed live, since it is unlikely it ever will be. Feel free to put your "conductor hat" on and critique the "orchestra". I have included a score and welcome any constructive feedback on its presentation. And if you're like me it's a lot more fun to follow along with the score. Are there any composers this reminds you of, that I might enjoy listening to? Sound libraries: Spitfire Symphonic Orchestra and Spitfire Percussion VSL – Eb clarinet, Bass clarinet (in the intro only), Alto sax, Bassoon (for the solo only), Bb Trumpet (for the solos only, and some reinforcement in louder sections), Euphonium, Piano Thanks for listening, I hope you enjoy! If you liked something I did and want me to explain how I did it, feel free to ask as well. -gmm
    5 points
  7. I have written a quartet for strings on which I would like the honour of some of your criticisms. This work has sprouted from almost a year and a half of counterpoint study. It is similar to a fugue; that is, it does tend to have fugal aspects; however on the whole, this is mostly a work of counterpoint with many interesting hidden ideas embedded within it. I can understand if you are unable to listen to the entire work, as it is almost 16 minutes long; however, if you give me some feedback on even a single contrapuntal passage, I would be greatly indebted to you. Thank you for your time and I dearly hope you enjoy this work. On a side note, this recording that I have here does not take into consideration single note dynamics which is indeed frustrating; however, it is the only soundfont I could find that effectively does some of the counterpoint justice (that is, so it is not too muddy sounding).
    5 points
  8. METAMORPHOSIS YC Composer Competition - Autumn, 2020 I. Topic: All entrants must compose a unique piece that is based on the same melody. The fragment chosen by member vote is: Takashi Yoshimatsu, "Waltz of Rainbow Colored Roses" - https://youtu.be/3qihgGETXwc ***To be clear, entrants do not have to use the whole piece as the basis for their compositions, only the short fragment identified in the member voting post and now attached to this post. *** While a traditional "theme and variations" form is not required, judges will be looking for effective treatment and development of the chosen theme as a central aspect of each composition. The theme itself will be chosen by the judges from the nominated melodies submitted privately to the judges by entrants and members of the YC community at large. II. Eligibility: 1. You must be a member of the Young Composers forum in order to enter. Sign ups will be in the comments below for JUDGE or ENTRANT. Comment "I'd like to enter as ____" for entry. 2. There will again be no limits regarding instrumentation. There is no minimum length, but there is a maximum length of 15 minutes. 3. You must have some sort of audio rendition accompanying your work. 4. You must present a score of your music for judging. 5. If you volunteer to be a judge, you may not enter as a contest participant. III. Scoring: Due to a lack of sufficient judges signing up for this competition, scoring will be by member voting only. ALL ENTRANTS: PLEASE MESSAGE ME, @Noah Brode, WITH AN MP3 AND PDF SCORE OF YOUR SUBMISSION TO BE POSTED ANONYMOUSLY ON THE APPROPRIATE FORUM. ONCE ALL OF THE SUBMISSIONS ARE POSTED, YOU WILL HAVE ROUGHLY TWO WEEKS (SEE TIMELINE BELOW) TO PRIVATELY MESSAGE ME YOUR FIRST, SECOND, AND THIRD-PLACE CHOICES FOR THE COMPETITION (OBVIOUSLY NOT INCLUDING YOUR OWN SUBMISSION). I WILL TALLY UP THE SCORES AND RELEASE THE RESULTS WITHIN A FEW DAYS OF THE FINAL DEADLINE (DEC. 27). THESE WILL BE THE ONLY SCORES OF THE COMPETITION; THE WINNER OF THE MEMBER VOTING PROCESS WILL BE THE WINNER OF THE COMPETITION. NOTICE THAT ALL OF THE DEADLINES HAVE BEEN PUSHED BACK BY ROUGHLY ONE WEEK. Member Voting: Once submissions have been entered, members will get three votes in which to vote on each other's pieces. These votes are tiered, meaning you will vote for your favorite entry, your second favorite entry, and your third favorite entry. The criteria or reasons for your vote need not be explained, though participants are highly encouraged to leave reviews on each other's works regardless. Members will send their first, second, and third choice picks to the judges after the submission deadline. Failure to do so will result in disqualification. Traditional Judging: 1. How well is the central process of the piece executed? How effective is the progression, or in the case of a lack of a linear one, how well is it represented? Most importantly, how internally consistent is the piece in the construction of a narrative? /15 2. How well is the piece orchestrated? Do instrumental orchestration (range, ability, etc.) and voice leading seem to be appropriate? How effective is the treatment of the ensemble? /15 3. How well integrated is the fragment to the composition as a whole? How central is the use of the fragment in the construction of the piece? /15 4. How clear is the score and audio of the submission? /5 5. A brief written segment (1-2 sentences) is required to explain the premise of the piece, if any. /0 Entrants whose primary language is not English are encouraged still to participate, as the diction and syntax themselves will not be judged. Timeline: Members will submit entries by first submitting their piece to the judges, both the score and the audio file. Each entry will then be posted by a judge or judges. SUBMISSION DEADLINE FOR ENTRANTS: FRIDAY, DECEMBER 11, 11:59 PST JUDGING DEADLINE FOR ENTRANTS: SUNDAY, DECEMBER 27, 11:59 PST Current Entrants: @Bradley Scarff @Left Unexplained @caters @PaperComposer @Joshua Ng @Hendrik Meniere @bkho @Aled Edwards @Ivan1791 (backup judge) @zhenkang @Leonardo C. Núñez @Thatguy v2.0 @luderart Current Judges: @Tónskáld
    5 points
  9. Hello, all! Here's my most recent composition. This is a more sonorous piano piece, less "dissonant" perhaps, though it's still based on the symmetrical scales of the prelude I posted recently. The title means "silver nocturne," and is intended to be liquid and smooth and placid, like rippling moonlight on a quiet lake. It will likely become incorporated as a "slow" movement into a larger work. The work features motivic, rather than thematic, development; you will notice the same motif weave in and out of the sections. Please let me know what you think of this. I'd love feedback of any kind! (This is a live recording so I do apologize for some of the choppiness in advance.) Happy listening!
    5 points
  10. I never ordinarily post non-original work - no cover versions, arrangements and on. This one is an arrangement of sorts so...bad.. It started when a student friend and I were looking through some of my recordings of old fashioned pop songs to build a folio in the hope of winning a few bookings at receptions and other events once lockdown is over. Most were "improvisations" although I'd choose the best takes, even cheating to learn a good improvisation. Several were quite flashy and flashy is not wanted at receptions where subtlety and background music is needed. Anyway, she suggested some pieces could be turned into easy studies that might help players wanting to be a bit more elaborate. Coming from the classical I'm a bit unorthodox this sort of music. As they were recorded on midi it seemed feasible. Except the worst was cleaning up the piano roll so it could convert to a meaningful manuscript. Anyway, here's one, a kind of fantasia on the tune (usually played very up-tempo, this one's quite slow and the mp3 won't tie up totally with the music. I don't know if the idea will work or has any mileage. If you're of a mind to comment on any aspect of the thing, thank you and it will be much appreciated.
    4 points
  11. Sinfonia in A minor "in profondità" Sinfonia "in profondita (into the deep)". Two movement sinfonia for baroque orchestra. Experimental fuge form. Fugal texutres broken up by chorale textures. Please tell me what you think
    4 points
  12. Hi everyone, I'm in the process of uploading as much of my music as I can on youtube, cuz what good does it do sitting around in my computer huh? Anyway, here's my second piano sonata as it was performed in 2016. It's divided into 3 movements and all three movements are following the typical sonata-form conventions to some degree or another. It took around 4 months to write the score and around 6 months in rehearsal time to get it performed to an acceptable degree. The third movement is specially challenging, but I think it sounds cool. Either way, have fun.
    4 points
  13. I added a trio to the minuet i composed recently. I found recording myself playing gave me performance anxiety and caused continuous mistakes. It was quite frustrating but I managed to get a somewhat decent recording with only a couple of minor mistakes. The minuet is Haydnesque but I experimented with the trio. I used doubled thirds to sound like a trumpet fanfare which is answered by the strings. A back and forth ensues which leads to a waltz like dance over a tonic pedal. I bought a book of minuet and trios recently by Haydn. In the first two minuet and trios of the book Haydn keeps the same key throughout the minuet and trio which i thought was unusual but uses tonicisations to add colour. I did the same and modulated briefly from F major to G minor in the B section of the trio rather than the relative minor to add more tension with the A section trumpet motif. I'm not 100% sure the trio works but I spent hours at the piano trying out many different approaches to create something new. In the score, one thing to note that bars 4 and 17 have two accidentals that are overlapping which obscures what they are, a B natural and an A flat.
    4 points
  14. I had a creativity outburst at the beginning of the pandemic, and wrote many pieces. In this it's a fanfare following a late-Romantic, slightly cinematic aesthetic, reminiscent of Korngold and Richard Strauss. When I posted this piece in another place, a player of the Sophia's Vereeniging symphonic band of the Netherlands asked me if they could play the piece, and I said that of course. There've been some rehearsals, but they had to be postponed after yet another spike in Coronavirus cases. The score can be seen here: https://albertdelaf.com/op13_en/
    4 points
  15. Hello! I decided to write a classical mini-little piano sonatina allegro movement! I didn't use any dice or try to make the music overly complicated or anything. I was going for just a pure easy-listening simplicity and ease of playing. It's not exactly sonata form as there's scarcely a development here. There are three themes though, which come back in the home key in the recapitulation. Let me know what you think and I hope you enjoy!
    4 points
  16. Good evening everyone, I had the good fortune of having my piano tuned for the first time in well over a year a couple of days ago. I'd almost forgotten how nice it could sound and feel! Anyways, given the wild hot/cold weather we've been having here it'll probably only last a week before keys start sticking and the action starts creaking again, so I thought I'd better take advantage of this little window of piano bliss. Here's a link to a collection of five piano character pieces. Written in late 2019, it's my most recent work, and actually the only thing I've written in the past four years or so. As one would expect from the title, these are melody-oriented and not formally complex. Hope you enjoy!
    4 points
  17. The Elegy in F minor was written in 2020. It is my second duet, since my Fantasy in G minor for violin and piano, Op. 4. The piece is about 14 minutes long, and contains 2 themes. This performance is a remote recording, and the cellist playing is JonathanCello from Fiverr, who recorded a few of my previous chamber works. https://www.fiverr.com/jonathancello/do-session-cellist-for-your-musical-project?context_referrer=user_page&ref_ctx_id=d3f44413-d69e-4a0f-8b73-8ace49eedd1c&pckg_id=1&pos=1 As always, I hope you all enjoy 🙂
    4 points
  18. Hi. So this is a cello sonata. I wrote this between 2017 and 2018 and it was premiered in 2019. The recording is not the super bestest ever, but it does the job. This is the 4th long-form "sonata" type thing I wrote and it was mostly based around the idea of augmented chords within a kind of neo-romantic style.
    4 points
  19. Thanks a lot for all your help comments and kind remarks. First I was hesitant about releasing the song but when I heard your comments, especially Papagenos about the melody (which I will never forget), I decided to have it recorded. What I realised here was that the oboe-melody that I actually wrote 2013 was so low in register that I could rather had written it for English horn, since it's much easier to keep the intonation in higher register. This wednesday we released it on YouTube. Enjoy:
    4 points
  20. Hi everyone! I've been thinking about writing some stuff for fantasy inspired settings (like WoW, Skyrim etc.). I've come up with these ideas and there were quite a few of them, and thus I decided to put them all together in one suite. Any feedback is appreciated!
    4 points
  21. Yeah, I'm gonna stir the pot as I always do in these sort of questions but it's just being honest The goal of a composition is the same of all art: To create something beautiful and great. Rivaling nature and worthy of a God. A secondary goal would be to musically embody some sort of thematic concept or environment. For example, if my goal is to write a sweeping, romantic desert piece, but it fails to convince the listener of this idea, then it has failed in this regard. It's only excusable to fail at the secondary goal provided your not writing to accompany a film or something, but never the first. Everyone who knows me knows that I not only don't accept, but am openly hostile to modernist conceptions of music, art and architecture which instead argue that the goal of these things is to "say something"; i.e., propagandize. Abstract conceptualism which uses political or philosophical "meaning" allegedly reflected by the piece as being more important than the piece itself and certainly more than the actual quality or aesthetics since those things are rejected as "oppressive" by modernists. Which leads me to... Because they're lying. What they were hoping for is that you would gush over their work, but instead pointed out flaws with it. Why do they lash out? Simple, and this is the most taboo subject in the world right now: They're totally brainwashed by the "equality" religion. They simply cannot accept that they are not as good as someone else in some regard. Everywhere you go, at least in the West today, everyone believes in "equality" in all things and people and that everyone is a blank-slate individual all equally-capable. People who have not been indoctrinated by this simply do not believe it. It is not an organic belief. Which is why no person who hasn't been indoctrinated by it genuinely believes that Kandinsky was good a painter as H.J. Draper. When someone gets mad at you pointing out that their melody is incoherent, doesn't work with their chord choices, and the lines are too stale because of lack of vibrato or whatever, the reason they are made is because you have claimed that their piece is inferior to others. That they are not "equal". and you know what? People who are superior, and know that they are, tend to be the most humble and helpful. Musicians and composers who were and are better than I, were only ever helpful to me but every guy making avant-garde noise music that sounded dated in '95 is SURE that I'm a d*ck who doesn't know what he's talking about when I say that music that sounds musical is indeed better than music that doesn't. I have never had a beautiful woman, or attractive people in general be rude to me — but every wicked witch of the west happened to also look like one...and insist they should be "models" too. I think you get the idea. It's the people who don't believe in equality that allow themselves to become the best can be at any given thing, because if you believe everything is equal by default, then you do not believe there is room for improvement...and improve they never shall.
    4 points
  22. Hello everyone, Once again, it has been a long time since I've posted anything here. Over the past year, I have been recording my chamber works using the remote recording technique (where the musicians involved record their parts separately), and have just finished recording my Piano Quartet no. 2 in G minor in this manner. I have already posted a live recording of the second movement here (https://www.youngcomposers.com/t38945/piano-quartet-no-2-op-10-mvt-2/), but the quality was not that great. Here, the quality is significantly better, and more importantly, the piece is complete! The Piano Quartet no. 2 in G minor, Op. 10 was written between 2019 and 2020, 3 years after the Piano Quartet no. 1 in B-flat major, Op. 3. It is my longest chamber work, lasting roughly 32 minutes, and has 3 movements. It was actually written concurrently with the Lacrimosa for piano quartet, Op. 11, hence the same orchestration. The whole piano quartet is based entirely on 2 distinct themes, which provide the melodic foundations of each movement. The 3 movements are as follows: Movement 1. - Andante misterioso - Moderato patetico (G minor) Movement 2. - Adagietto - Andante (C major) Movement 3. - Larghetto - Allegro grazioso (G minor-major) I would like to give a huge thanks to everyone who helped me bring this recording project to fruition. Their performances and services were phenomenal, and I could not have done this without them! The performers are as follows: - Javier Orman, violin (Mvts. 1, 2, and 3) https://www.javierorman.com/ - Dima Ratush, viola (Mvt. 2) - JonathanCello, cello/viola lines played on cello (Mvts. 1 and 3) https://www.fiverr.com/jonathancello/do-session-cellist-for-your-musical-project?utm_campaign=gigs_show&utm_medium=shared&utm_source=copy_link&utm_term=engey - Avigail Arad, cello (Mvt. 2) https://www.fiverr.com/avigailarad/teach-you-how-to-play-the-cello?context_referrer=user_page&ref_ctx_id=442e84e2-4238-452e-9737-c8c33da05bd5&pckg_id=1&pos=1 - Myself, piano (Mvts. 1, 2, and 3) Here are the recordings of all the movements: Here is the original video of the second movement: As always, I hope you all enjoy. 🙂
    4 points
  23. It took me forever to write PRO LEVEL literature, but with this handy dandy WORD PACK you can use PRO LEVEL WORDS in your writing. Just copy and paste these PRO LEVEL WORDS into your stories to make them PRO LEVEL. I wrote this comment entirely using PRO LEVEL WORDS from our PRO LEVEL WORD PACK. My comment is now PRO LEVEL
    3 points
  24. Buy our Midi Chord Pack now! It took me forever to get my chords to a pro level but with this midi chord pack you can have PRO LEVEL CHORDS now in all 12 keys! www.musescore.com/community
    3 points
  25. 3 points
  26. https://www.youtube.com/watch?v=_XA6S1U5Wtc Hi! I'm Eunjae Oh, visiting this site for the first time. I am 19 years old and currently studying composition in university. To explain a little bit about the work, the theme of the work is a more splendid transformation of the first movement, and the melody of the second movement also appears in between. This is intended to strengthen the connection of each movement and finish the music well. Full version would be uploaded to the gsarci channel in the form of score+audio. I'd appreciate it if you liked it. Your feedback is always welcome.
    3 points
  27. One of these days you'll have to stop blatantly stealing others' music. If you ARE going to steal, make it a piece by someone obscure. Is it any wonder you're asking for ideas? You have none of your own and you aren't Rachmaninoff. Here's the piece you stole from. You just shifted it down a semitone. https://www.youtube.com/watch?v=YmSDDslA__M But... I relent. Here are a couple of totally original ideas for you. Maybe they can be added on:
    3 points
  28. This time you're plagiarizing Rachmaninoff's Italian Polka. This isn't a passing, inoffensive quote, but a long, copy-pasted passage from another work and there's no acknowledgement whatsoever. I've lost count of how many times you've done this. Why are you still convinced you can get away with it? Please don't insult my intelligence again by saying it was an "accident".
    3 points
  29. Sinfonia in e minor for baroque orchestra: My last two movement Sinfonia for baroque orchestra. And with this one i finished my profject of writing six two movement sinfonias. I hope the last one goes out strong. Titled "Inferno" this a dramatic sinfonia in the key of e minor. The other five Sinfonias are posted in chamber music. 1. Sinfonia in C major 2. Sinfonia in A minor 3. Sinfonia in F major 4. Sinfonia in D minor 5. Sinfonia in G major 6. Sinfonia in E minor Plase tell me what you think.
    3 points
  30. I've been fascinated with fugues for a long time. But none of my prior attempts were ever particularly successful, artistically. This is the first time I can actually say I'm pretty happy with the end result. Score: https://drive.google.com/file/d/1K3d65A9OFQgcRdkRI_tzyKJuvI1_K0uk/
    3 points
  31. I wrote this on my old computer. Don't has score. This was a lot of fun to make.
    3 points
  32. Sheet music seemed ok to me given it's an example. You can trim the bars at the end when ready. Point is, composing melody is so personal a thing that it's difficult to give feedback. Always easier if they have a context/a background against which they're set. I found them rather choppy and angular but a) that's just me, b) in another form they might transform to something very lyrical. I mean, just changing #2 to a legato and perhaps altering rhythm and stress makes quite a difference in mood. 'Choppy' might be what you want (a sprightly ballet scene or something) in which case fine. It might still be worth looking at traditional melody writing (if you haven't already) just to broaden your repertoire. Traditionally you'd have, say, two balanced parts, the first ending on some sort of imperfect cadence, the second on a perfect one. Also worth learning a bit about modulation as melodies usually lead somewhere which might be to a new episode/melody in a different key. Likewise you might have a surprise modulation in a melody but need to know how to get back to the home key. These things take a bit of practice across time but they come in the end. Sorry if you already know this but in case others don't.... Usually, combining melodies counts as 'development' which often needs movement around different keys. (for those who want to explore this from scratch have a look at almost any Mozart Sonata first movement or Eine Kleine. There's a further point... writing for a melody instrument other than keyboard, the harmony is implied in the melody. You seem aware of this but it's worth experimenting with greater variety in a tune like this. For example, bar 3, shift the whole thing up a minor 3rd (to A flat) then back down in bar 4 to get back in the home key. Can you forgive me quoting your tune but changed thus, as an example? Must admit I've never thought about compositional goals. It's been about self-expression above and beyond the capabilities of words and, if I get the chance, make a little money out of it with some commercial fragments or at least a decent dinner and a few beers if working with someone else for nothing! (which has little to do with self-expression but what the 'client' wants!) Cheers.
    3 points
  33. Hey everyone! I'm inviting you to check my new piano solo "Wasted Tears"
    3 points
  34. These two piano pieces were created by me back in 2014. They are some of the first pieces that have a very simple harmony, yet sound quite natural and competent. Especially in the re-recorded version, which is presented in this video.
    3 points
  35. As usual, not that I try to but it usually just shakes out this way, I'm gonna have the opinion that induces the most rage. So before we begin Okay let's do this. Firstly, I'm not actually certain that what you describe — composers and musicians not showing up to concerts — really matters. Actually, I would say it's often better if they don't. I, for one, don't actually make music for musicians to listen to; I just want normal people to like it and listen to it. But I find getting musicians to listen to new music is no problem. On these forums or whatever, I can usually expect to get a few dozen plays or something. On YouTube, some of my tracks wound up getting into the recommended feeds of normies and skyrocketed to tens of thousands of plays and hundreds of likes. I am always glad when musicians, especially ones much better than I am support what I do and like it, but it means a lot more to me when the average person, who just got off their boring, soul-crushing 9-5, stumbled upon my music, thought it was freaking awesome, and shared it with their friends because it brightened their day that much. Maybe, it even inspired them to get into composing themselves and that's even better. Then, a beginner reaches out to me via forums, email, IRL, whatever and is asking me for advice on their own stuff and how to do something. That's also humbling and good and it's actually gotten to be a bit too much this past year (which is why I'm making some online courses and prob gonna offer some skype lessons soon) too keep up with. All of that, in my opinion, is far better than musicians showing up. I played in rock bands and let me tell you something: The brutal reality of 99% of live music today falls under two categories • It totally sucks. Standards are very low. I can't tell you how many years it took before I could get to jam with a band that could actually play IN TIME with each other and would show up. I played alongside a lot of bands that just friggin' sucked, dude. They played way too loudly, too much distortion, singer couldn't sing, out of time, etc. Then, after the show they'd come up to us and be like "Hey, you guys were awesome, man!" and we'd say "Thank you" and then were always like waiting for us to say they were great too and looked disappointed when it didn't happen. It's like, well bro...I'm not gonna lie to your face and say you were amazing when you clearly bungled the song, don't know how to write a coherent piece, and couldn't even play in time with each other. If someone came up to us and said "Hey, you guys kinda sucked tonight", we were willing to be like "Yeah, it wasn't as good as it should have been". Most musicians don't have that kind of self-reflection, so what happened at virtually all of these shows, is that the "audience" was 100% "musicians". Just guys in bands that suck as bad as 9/10 of the other bands. It's a total echo chamber and "trophy-for-everyone" fest. People don't come because the bands aren't worth seeing. • Like with art galleries, there are many talented people out there. They don't get promoted though. If you have some sort of social justice message to sell, you can just literally tape a banana to a wall and they'll promote the crap out of it for purely political reasons. The guy who can actually sculpt, compose, paint, etc? Nope. Not interested. The industry is full of gatekeepers/politicians. This then harms the actually-good composers when they do get promoted, because most people just assume it's more modern-art garbage. Now I will say, I'm not entirely sure what it's like in local orchestral or chamber music "scenes" as per point 1, but I know it's true for point 2. The local orchestras near me almost never play anything by new composers and the few times they seemingly have, it was pretty much not even advertised so I never would've known about it anyway. Last point • You have a niche category of music Most people today, including musicians, outside of a film/game context, do not have any interest in orchestral music. Even I can honestly say I don't feel compelled to go watch a string quartet + winds duo. People want to have fun at concerts as much as they do hear the music. People want to dance, they want lights, they stage antics and performance, they want the social aspects of it as well as the music. Sitting silently in a cathedral or hall to listen to a cellist saw away might sound nice and have a nice atmosphere to it, but it's just not something most people are going to make an afternoon/evening out of, or certainly pay for, when there are (at least pre-2020) so many other more-fun things they can be doing. Historically, the orchestra was generally the music of rich people and to a lesser extent, churches. For the peasants, the unwashed masses, the normal people — the fiddler on the street or at your spring festival and drums is what they know as music and they'd have much rather been doing that than going to sit quietly in church and listen to a choir sing ANY piece old or new. In other words? Musicians aren't showing up to local concerts? Good. &*#@ 'em. If it's mostly musicians showing up, it means that the music is pretty bad. If you have like 40 normal people who just want to listen to music showing up to an orchestral/chamber music concert in 2021? You're doing very well, I'd say.
    3 points
  36. li uhl di-y I done gone made
    3 points
  37. Hello everyone! I started studying some orchestration (which is being quite an overwhelming task :S) so I decided to arrange and orchestrate an old piece of mine, a minuet in G major for piano. The piece was quite simple so I though it would be a nice start for practicing orchestration. The original minuet was a little bit unconventional because of the number of measures and the accompaniment's simple texture, so it is probably not a good example of a minuet composition. I leave a link to the original post of the piano version at the end of this post, in case somebody wants to compare both versions. I had to limit myself to 16 staves since that is the number of staves that my version of Sibelius allows me to use (that is why the brass family is not present, except for the horns). Initially I had two english horns but I modified it to use only one, since I found out many orchestras would not be able to provide with two. Except for the english horn, all woodwinds (and horns) are in pairs. It is my first orchestrated piece so there will probably be many mistakes. Any feedback, suggestion or comment is more than welcome! Thank you for listening and hope you like it! ----- Original Piano Version -----
    3 points
  38. 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/
    3 points
  39. The piece starts off with an introduction before breaking off into a fugue with a highly chromatic subject. This piece was an experimentation in contrapuntal writing, tension and rhythm. Any feedback would be highly appreciated!
    3 points
  40. So this is my attempt at cinematic music. This piece for orchestra took me an embarrassingly long time to write - I won't tell you how long. It is now finished although I better submit it soon before I change my mind and second guess myself about deleting some parts of it - sometimes it seems over-orchestrated or too cacophonous in some parts but that might be the MuseScore rendition. Although I think this rendition isn't really even that bad if you don't listen to it too loud. This piece is in both 5/8 and 5/4 at the same time throughout most of it which is why the notes are sometimes grouped strangely. So let me know if I've succeeded at the kind of eponymous cinematic mood that I was going for. Thanks for listening!
    3 points
  41. I've been working on this romantic orchestral piece over 9 months dedicated for my girlfriend. I wrote this piece on piano initially and then arranged it for orchestra. It’s in a basic sonata form with two melodies that interchange throughout the piece. If you have any feedback on the themes or the structure of the piece (or any other aspects) please let me know 🙂 It tells the story of falling in love, from humble beginnings to grand romantic gestures. It’s inspired by my own relationship, expressing everything I’ve felt so far in the form of music. Wishing everyone a safe and Merry Christmas at the end of this ridiculous year ❤️
    3 points
  42. IMPORTANT OFFICIAL STUFF: THE SUBMISSION DEADLINE HAS BEEN PUSHED BACK TO FRIDAY, DECEMBER 11 AT MIDNIGHT. FURTHERMORE, THE TRADITIONAL JUDGING PORTION OF THE COMPETITION HAS BEEN ELIMINATED, AND MEMBER VOTING WILL BE THE ONLY SCORING METHOD. DO NOT POST YOUR PIECE AS NORMAL IN THE FORUMS. SEND IT TO ME ( @Noah Brode ) IN A PRIVATE MESSAGE AND I WILL POST IT FOR YOU ANONYMOUSLY. THEN, MESSAGE ME WITH YOUR FIRST, SECOND, AND THIRD-PLACE PICKS, AND I WILL CALCULATE THE RESULTS AND POST THEM. Special thanks to Paper Composer and Tonskald for whipping the rest of us into shape here. 😁 CC: Current Entrants: @Bradley Scarff @Left Unexplained @caters @PaperComposer @Joshua Ng @Hendrik Meniere @bkho @Aled Edwards @Ivan1791 @zhenkang @Leonardo C. Núñez @Thatguy v2.0 @luderart @Tónskáld
    3 points
  43. My favourite soundtrack is: But I like so much game music that listing it would take forever, lol.
    3 points
  44. Hello again, friends. I've been in sort of a composing funk for the past few months, lots of life stressors and, really, an utter lack of motivation to blame. I was hoping to write something on a grander scale but I had to settle for solo piano once again. You know what they say: beggars can't be choosers. This is the opening prelude to what will likely become another suite for piano. It's written in harmonic language derived from non-heptatonic scales (my favorite, as some of you know by now), and, as such, may sound unpleasantly dissonant. The chords are quartal or quintal rather than triadic, and there's no sense of a home key. It can't quite be classifed as atonal, however, because the note pitches do play a functional role; it is probably best described as modal, which presents a listening experience unusual to ears familiar with tonal harmony. Nevertheless, I hope you find it enjoyable, or at least appreciable. Feedback and comments are always welcome (so are any questions you may have)! Please, enjoy!
    3 points
  45. Hello everyone, Here is my first piano trio, which I composed several years ago. This was really a challenge for me, with a lot of thoughts and a lot of work. Recently, I made a revision of the score, which I am posting here, (but there are probably still additional things to correct). The piece consists of three movements, following a classical style, with major influences from Beethoven, Mozart, and particularly, Schubert. I hope that you will enjoy this piece, and I am very interested to obtain your critical comments. Best regards
    3 points
  46. Another favorite, from PC land: Civilation 4's "Baba Yetu."
    3 points
  47. Hi all, It's been a while since I posted anything at YC. I had hoped by now that I'd have something live to share, but the pandemic has greatly curtailed performing activities here. I'm generally reluctant to post digital versions of my compositions and am willing to wait a long time for a live recording. But this piece has now been sitting in my drawer for eight years, and with no realistic prospect of having it performed any time soon, I don't think there's a point in holding off any longer. I prefer German 19th-century music styles, generally leaning to the conservative side of the War or the Romantics. I also believe we are at our best when we write the sort of music we want to hear ourselves, and so that is what you can expect of this work. It's in four movements, following the typical sonata form plan. The provided audio includes repeats of the expositions for the first and final movements. I have mixed feelings about this convention and often don't repeat my expositions, but when I listen to the movements without the repeated exposition, I personally find the pacing is negatively affected. That said, if you hate repeated expositions, start movement 1 at 3:20 and movement 4 at 1:55. Forms: mvt 1; Sonata-Allegro mvt 2: Rondo (ABABA) mvt 3: Scherzo and Trio mtv 4: Sonata-Allegro As most of you know, I am not comfortable sharing my scores online. I apologize to those who would like to see it. Hope you enjoy!
    3 points
  48. I decided to make a calm and cozy melody because that's fun! 😄 Critique is very welcome!
    3 points
  49. Hello everyone! This is a courante in C major for solo cello. it is supposed to go together with the allemande I composed last month since I am trying to composer a whole suite. It is in [:A:][:B:] binary form and 3/4 time. The first part is 16 measures long and modulates from the tonic, Cmaj, to the dominant Gmaj. Part B is 18 measures long and modulates once: Cmaj --> Dm --> Cmaj. Any feedback, suggestion or comment is appreciated! Hope you enjoy it and thanks for listening!
    3 points
×
×
  • Create New...