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  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. Good evening everyone! I'm excited to present a new piece I have been working on for the last month or so: Scherzo for Orchestra. I deliberately wrote this fairly quickly, with the intent to write something fun, conventional, and maybe even a little whimsical. I'm interested in any and all constructive feedback. I had a few goals in mind as I composed this, feel free to critique my success or failure on these: Write something a little more informal and accessible, with catchy, memorable themes. Start with a very simple idea, and build the entire piece off of it. The four bar
    7 points
  3. Fantasia i g minor. Fantasia for organ in the key of g minor. Multiple subjects and fugesubjects. Ps: The piece has not been editet yet, so there are som mistenkes. Both intentional and unintentional 🙂 Please tell me what you think SimenN
    4 points
  4. 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
  5. Thanks for your guy's help on this.
    3 points
  6. Indeed, Luis! "Brass... also reproduce choral writing better than woodwind; in much early music, brass, especially trombones, simply double the voices."
    3 points
  7. Possibly, but I was thinking it could be a bit more open-ended than a strict theme-and-variations piece (which we did as a competition theme a few years ago, except in that one, everyone chose their own theme). Like composers could feel free to add themes of their own to the music, and use the provided melody / fragment as a starting point. @Ivan1791 also mentioned a competition based on the seasons. I can add that topic to the list, if there are no objections. I'm also with you on the question of the ensemble. I don't think it is a great idea in general to put specific restrict
    3 points
  8. I like this idea of a more "absolute" music theme. Maybe restrict the overall form of the piece (sonata, rondo, etc.). Another idea is to have an orchestration challenge. Start with a piano reduction or something that's in only a few staves, and have the competition be to expand to a larger ensemble. The instrumentation could be either defined, or up to the contestants.
    3 points
  9. m. 7's Gr+6 and dominant harmony hybrid is a little off to me because of the minor ninth.
    2 points
  10. Hi everyone! Here I post a short prelude (Well I do not know if to call it a prelude as it is rather experimentation). I've started the piece with the idea to write a fugue of a single note melody, but at it only for a short bit as affter I did not whant to continue. The piece is for two pianos (Is not really a piece as It is something I would never like to publish or perform). And basically I tryed to experiment with rythm and with inspiration of some minimalist works. I hope you enjoy. 🙂
    2 points
  11. Fantasia in g minor for strings: Fantasia in g minor originally scored for organ manualiter. I have arranged it for strings (playback is woodwind quartet). The second fugue is a bit longer then in the organ version and some mistakes have been edited. Ms: 1. Fantasia theme Ms: 7. Free counterpoint Ms: 52 First fugue theme. Ms: 91 Second fugue theme. Ms 130 Fantasia theme Ms 138. Free counterpoint. Please tell me what you think.
    2 points
  12. I just finished working on this recently: Score: https://drive.google.com/file/d/1f7vpxEZ1YFRJjPOWcp5Wsv2FRrrKZCKa/
    2 points
  13. Hi everyone, please review the following list of pieces / melodies and select the one you'd most like to use as the shared theme for the Fall 2020 Competition. Please listen to the pieces and review the PDF document before making your decision. Once the winning theme is decided, I will post it along with the competition rules and signups. 1. Florence Price, "My Dream" - https://youtu.be/lLbhy03VgXE?t=3 2. Takashi Yoshimatsu, "Waltz of Rainbow Colored Roses" - https://youtu.be/3qihgGETXwc 3. Alfred Schnittke, "Concerto Grosso No. 1, Waltz" - https://youtu.be/yaaRk0c-780?t=1284
    2 points
  14. Hello all, what a wonderful year its been lol. I think this year's holidays are vital to people's sense of community and family, even though it will only be those closest to you. But Christmas is also about imagination, coming up with vivid stories and legends. This holiday event, I was thinking everyone could take a christmas story (or, much cooler, come up with an original one) and make a song about it. You could even take the music from a famous holiday movie and rearrange it and make it your own. Could be some very cool ways to reharmonize rudolph or frosty the snowman for example. No musi
    2 points
  15. Here a short piece I wrote for SATB choir, brass, timpani and organ. Sorry, I couldn't find lyrics for that and a more original tittle 😅 Any ideas for the lyrics are wellcome.
    2 points
  16. If I have any way of improving this please tell me. And if you have any advice I would love to hear.
    2 points
  17. I'll echo what @Quinn said: I don't think you need to indicate every last up and down bow, unless that is the specific bowing you want. The players are perfectly capable of figuring out what bowings are the most musical for them. I think the ricochet can be notated with a slur over staccato notes, as in this link here.
    2 points
  18. Well, I'm no Paganini so there's Little I can say. What tempo is it to be played at - and if your slurs are phrasing or bowing slurs - like the last beat of bar 1, semiquavers 1 and 2 need the down and up bow marks changing if the slur is grouping the notes under one bow-stroke. Or the up bow sign needs removing altogether. I'd have marked the bowing with the down bow on the first beat, up bow on the second beat, down bow on the third beat down to the g of the fourth beat and the rest on an up stroke so the player is ready for another up on the chord in bar 2. Bar 2, I'd leave
    2 points
  19. May I humbly invite you give a little listen to the newly released 3rd and final movement of my Sonata in Bb, heavily influenced by Ludwig! Hope you enjoy https://www.youtube.com/watch?v=_EgSdlAk5Z8 Thankyou!
    2 points
  20. Attached is the third movement of my piano trio. (yes completed before the second) I'm quite pleased as I wrote it very quickly for my standards. It's in minuet and trio form and is very short. please leave any thoughts down below.
    2 points
  21. Hey all Here's a simple thing I cooked up, not sure what to do with it. My first reaction is to have what I'm showing be the end little solo, and proceeding that I would have a more song oriented structure. I'm thinking like the studio version of Little Wing by Hendrix or like Freebird by Skynyrd. Both have a song format with a solo after. I'm shooting for under 4 minutes, any thoughts?
    2 points
  22. A blues-rock tune I composed inspired by classic bands like ZZTop as well as 70s/80s American car chase movies. Let me know what you think! A friend of mine from a local metal band recorded the electric guitar parts.
    2 points
  23. You shouldn't give up on music composition. Why would you if it's who you are? Are you giving up on yourself? Who cares how much knowledge someone else has, there will always be someone who knows more than you about music. That in no way should deter you from really living if you have found who you are as a person. When I made the decision for music to be my career, my dad was pretty disappointed. He didn't talk to me for a while, and when he finally did, he only told me that artists will suffer. I knew he was right, and I knew he said that because I excelled in school and could have chos
    2 points
  24. I personally would go with any of them except for the orchestration option which is really more of an pedantic exercise than a creative one.
    2 points
  25. I will say that I think the orchestration idea may be better suited to the "Challenges" section of the site, rather than being the theme of a seasonal competition, since it's less subjective and more technical than pure original composition of new music. Like folks could just post pieces they think would be fun to orchestrate in the "Challenges" section and have people submit their efforts in the thread. Just my take on that, though
    2 points
  26. There's also the idea of having everyone compose a piece based on the same short (or not so short) melody.
    2 points
  27. One of the themes could be to write something about an ancient culture such as the Aztecs, the Mayans, or the Egyptians (although I know that last one is done a lot).
    2 points
  28. Interesting 3 + 3 = 6 measure phrases in the beginning. Stoked to hear a more expanded version of this if you plan on working on it some more... Thanks for sharing!
    1 point
  29. I really enjoyed it! I think it works as a prelude. 🙂
    1 point
  30. Actual Musical Notation of Themes:
    1 point
  31. Thank you for listening and for your comments. I managed to find a solution for the odd phrasing and transposed it up to FM so that the flute sings better and the cello gets to play exciting notes in its higher register
    1 point
  32. That end phrasing in your main melody is pretty much Liebestraum 3 from Liszt, but I think you know that. Nice interesting texture of a 4/4 melody over the 5/4-like left hand, but I agree with PaperComposer; it tends to get a bit stale after a while. I do appreciate the experimentation of extended chords, but I feel like we composers can get caught in the rut of a chord per measure type of feel. The harmony was a bit questionable around 1 min, but I think you're off to a great start at something with a lot of emotional depth. This was a nice relaxing piece, and just what I needed a
    1 point
  33. I know more. Here are the other ones I know that you haven't mentioned: Ctrl + Up or Down -> Moving notes up or down an octave Alt + Number -> Add an interval above a note(so for example Alt + 6 would add a sixth above the note) Ctrl + Shift + Delete -> Reset rests in the measure to default Ctrl + Delete -> Remove measures Shift + S -> Stacatto S alone -> Slur Shift + Left or Right -> Extend slurs to following notes(or contract a slur if you find out later the slur is too long(Shift + Left contracts, Shift + Right extends) Shift + V
    1 point
  34. @gmm I do see now how the themes are connected ... I was just trying to wrap my head around where you got that figure in m. 283 from (where the strings glissando up a 6th). I also hear how you bring the A theme back into the end of the waltz. Great job!
    1 point
  35. I love the section with the flute staccatos. Love the dynamism. The way you layer everything is absolutely incredible.
    1 point
  36. Nice and simple and joyful - well done! Not much to say about it - I wish I could review it more critically. I guess you added the brass just for reverb inside an (assumed) church hall? I wish the brass were more independent although I guess you already have enough counterpoint going on between the four voices. Thanks for the music!
    1 point
  37. Some house cleaning: dynamic and tempo at the beginning? m.4 bass, I wouldn't notate it as dotted 8ths as you need to show the rhythmic beaming of the meter. At m.4 you are clearly in a 6/8 meter (by the sounds of it), and would mark it as such - - this incremental metronome marking is best suited for movie scoring. Also at the beginning I'm hearing this more in 2/4 rather than 3/4 (but could be due to the playback). All in all it's promising and my condolences over the loss of your uncle.
    1 point
  38. This makes sense to me, I hadn't considered that.
    1 point
  39. @Left Unexplained Yes, many have told me that I have a good sense in rhythm. Thanks for that feedback. I will surely see what is a B-Section and how to incorporate that into my music. :) I am also very fond of Berklee school of music, I hope the books aren't really complex to read, but I will surely give it a try. Thanks
    1 point
  40. I was reading the ideas. Many of them I think can be considered to fall under the broad term "programme music". I think that not everyone has the talent or even the interest to compose that type of music. I hope that the competitions can be less restrictive in that sense, and to therefore appeal to a broader range of potential participants. One way to do that would be to, instead of providing themes (in the sense of "programme music", not musical themes), providing limits like the instrument to compose for, the number of bars, a sequence of notes to expand on, a key to compose in, an unusual c
    1 point
  41. One of my favorite sax examples is Britten's "Sinfonia Da Requiem". There's also the obvious Prokofiev Romeo and Juliet and the Vaughn Williams Symphony (I don't remember which one).
    1 point
  42. I've been working on this for the past couple of weeks. It's a Theme and Variations for Wind Trio (Flute, Clarinet and Bassoon). It was a melody I liked and it inspired some cool harmony as well so I thought to come up with some variations for it and it snowballed into this piece which is way longer than I planned on making it. To prevent myself from reviewing my own music ... I'll leave it at that, save that I am sure there is plenty to criticize in this piece so don't hold back please! I welcome all your criticisms, suggestions, and observations as always.
    1 point
  43. 1 point
  44. 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
  45. I wouldn't say it was planned all the way through but I was thinking of the planet earth bit where the little birds have to jump out of a high nest and bounce on the ground (and are okay) and just what it sounded like to me. I don't usually start with any plan, I do it and then I start to see the meaning behind it, and then the rest of my piece is the rest of the story where now I have creative control. What do you mean by "through-composed" jw?
    1 point
  46. AND FOR NO REASON, THE SHEET MUSIC.
    1 point
  47. Bring your bass guitar out more! AWESOME piece of music
    1 point
  48. I bought a guitar, so I thougt I should make a guitar centric music.
    1 point
  49. The Needham Congregational Church was nice enough to let me record the choir singing this. There were only 9 singers that day, but they did a great job anyway! A piece with a gospel/spiritual/tent revival/Sacred Harp/shape note singing feel. I had great fun with the three-part women's split towards the end. To be sung at a slow walking tempo, with a strong accent on the downbeat. I marked an obnoxious number of breaths to be sure that everyone is breathing in time, to help keep the syncopations and the triplet/duplet structure together. Liberties can absolutely be taken
    1 point
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