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Showing content with the highest reputation since 06/09/2020 in all areas

  1. 4 points
    Hello! This was my shot at creating a few variations on the theme that @Ivan1791 posted in the 'Challenges' section of the site yesterday. One thing to note was that the flatted sixth scale degree in measure 5 (Ab in the original key of C Major) was important to the original composer. I did my best to keep it around in most variations, although the harmony differs from the original intent in some cases. In minor key variations, I changed this to a sharped sixth scale degree in order to maintain the 'borrowed tone' aspect. Let me know what you think overall! Thanks for listening. EDIT: Brief explanations / explications of the genesis of each variation can be found in the musical score.
  2. 3 points
    Tried my hand at @Ivan1791's challenge just for fun and whipped up something quickly. I think it's pretty fun! The justification for the last variation is that each beat in the right hand uses (0148) which is the "dissonant" chord's pitch class set. Enjoy!
  3. 3 points
    Here an Scherzo I wrote in early Classic style with ABA form.
  4. 3 points
    This is a tone poem inspired by a work penned by Icelandic poet Jónas Hallgrímsson in 1843. His poem speaks to the frailty of life, the uncertainties that threaten us, and the watchful eye of God. The imagery evoked here is of a lone seagull flying out across the sea under moonlight, who meets his untimely demise in the jaws of a lurking shark. The phrase "Máninn er hátt yfir sæ"—the moon is high over the sea—anchors each stanza of the poem, providing a sense of steadfastness against an otherwise bleak tale. This I chose to be the title of the tone poem, and I hope the proceeding aural onslaught captures the evocative imagery of the source poem. Do let me know your thoughts and feelings about this work. The harmonic language is my own, but I sometimes question whether it suits its purpose in storytelling... Even if you don't feel qualifed to comment on the technicalities of the piece, your insight into the tone poem's emotional depth (or lack thereof) is just as valuable to me. For those with more theoretical savvy, I've also attached the score and would greatly, greatly appreciate feedback regarding that. I've tried to make it as succinct as possible but I know I've overlooked things. Thanks in advance for your thoughtful input!
  5. 3 points
    IN A DIFFERENT WORLD YC Composer Competition - Summer, 2020 We live in a bit of an unprecedented time and it seems that many of us are, understandably, feeling many emotions ranging from anger to fatigue to even hope. Whatever your reaction, welcome to this summer's competition, where you'll attempt to express it as creatively as possible. I. Topic: Compose a piece that in some way mirrors one's reaction to the 2020 global pandemic and how it may or may not sway or adapt over time into something else. 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: Scoring will be split into two categories with two "winners" – member voting and traditional judging. 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 facilitator @Noah Brode after the submission deadline. Failure to do so will result in disqualification. Traditional Judging: 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? /25 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? /20 How clear is the score and audio of the submission? /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. Judges will not judge the premise itself and will use the explanation to rationalize participant choices. Timeline: Members will submit entries by first submitting their piece to @Noah Brode, both the score and the audio file. SUBMISSION DEADLINE FOR ENTRANTS: AUGUST 14, 11:59 PST JUDGING DEADLINE FOR ENTRANTS: AUGUST 21, 11:59 PST JUDGING DEADLINE FOR JUDGES: AUGUST 28, 11:59 PST Current Entrants: 1. Ivan1791 2. Thatguy v2.0 3. caters 4. Quinn 5. danishali903 6. Left Unexplained 7. HoYin Cheung 8. Hendrik Meniere 9. Leonardo C. Núñez 10. Gernt Current Judges: 1. @Noah Brode 2. @Tónskáld 3. @Monarcheon
  6. 3 points
    Would y'all please stop talking about balls on my thread??? Lol. Seriously, though, writing dissonant works of music ought to be the result of your process and not the reason. The scales I use are non-heptatonic and symmetrical, so my harmonies tend to be dissonant (lots of stacked fourths). The chords required to produce cadences (both perfect and inauthentic) don't exist in these scales, and the music comes across as eerie and dissonant in most places, or non-CPP at least. I don't think I'm ballsy per se, but I do recommend learning how music fits together before you begin tinkering with its underpinnings.
  7. 3 points
    I'd like to enter as an entrant entering the entrance of entrants
  8. 3 points
    The - usually well-meaning - advice not to write pastiche (which is to say, not to write in old styles) but rather to write music that is "true to oneself", that is "authentic", is built on several assumptions that are questionable at best. Chiefly, it assumes that authenticity is the chief virtue of art - which, in turn, depends on a very particular view of the role of the artist, as if the value of art is primarily in the expression of the artist, rather than its value being in the art itself. It's as if the only reason to listen to a Corelli piece were because it is by Corelli, or because it dates from such and such a year. And this strikes me very much as nonsense. I (and I would daresay the vast majority of people) listen to a piece of music because I enjoy the music itself, because the music itself provides me a satisfying artistic experience. So it matters not one whit, as far as the value of that work (to me) is concerned, whether it was written by Corelli or by Simen N. The music is what it is, and its value is in itself, not in who wrote it or in what year it was written. Moreover, there's an unwarranted assumption not only that someone's "true voice" exists in a meaningful way but also that this true voice has to be more or less in line with current musical trends. Who's to say that Simen N's authentic musical spirit, if such a thing exists, is not the Baroque one displayed here? If I had a CD of concerti like this one by Simen N, I would gladly listen to them, just as I listen to my CDs of Corelli concerti grossi - neither because they were written by Simen N in 2020, nor in spite of it, but just because I would enjoy them.
  9. 3 points
    The opposition to pastiche composition has a common theme, one which I experienced at my school when I first developed an interest in it. It harbors the idea that music is the creation of an artist, and all art should contain artistic expression. Imitation of a style or composer from a bygone era, therefore, should not be encouraged for it will limit one's means to distinguish themselves within a school or tradition that countless others have already exhausted through their output. Whilst this argument has some merit, it is based on a number of misconceptions and assumptions that cannot be ignored if one is to think about it. As Simen points out in his quote by JS Bach, composers of the 18th century were more craftsmen than artists, whose craft centered around pleasing and relatable patterns. Many highly successful composers from this period were educated in institutions that from an early age drilled their students in such patterns by rote, to the extent that it became a second language. I think it is fair to say that the underlying practice of composers from the 17th and 18th centuries conflicts with our understanding of artistry (that is, if you associate artistry as something beautiful or profound that pushes boundaries and which may challenges people intellectually). It is no coincidence that popular music from this era is predominantly by figures whose mastery enabled them to set themselves apart from their contemporaries. But how can one begin to understand their art without looking at the context in which their craft was cultivated? The truth is, the practices of the 18th century musical world have long ceased to exist. There is much we do not understand and may never do. The attempted revival of their practices in my view, is more a scholarly exercise and Simen seems to do this better than others. I have observed that most who use this forum subscribe post-romantic models, and many have become quite specialized in their respective disciplines. An inevitable outcome of this is that people will project different things on other people's works. That is an important thing to consider when you are offering criticism.
  10. 2 points
    Here a piece I wrote this week. It has 6 parts for strings. I did cello divisi, but not sure if that's the best option. I could split violin II, but I'm afraid the lows would be too prominent. Violas are the weakest of the strings instruments. If I divide violas, would be even weaker, so I decide to split Celli. Do you think that's the best option for a good balance? I have been exploring here a harmony rich in suspensions and apoyaturas.
  11. 2 points
    Below is my submission for @Ivan1791 variation challenge. I wrote 5 variations on Ivans theme. and I hope you enjoy them.
  12. 2 points
    A soundtrack born from a whistle in mind. I imagined it in a menu or a prologue of a game or fantasy film, let me know what you think. https://www.youtube.com/watch?v=hWgl-oEjZcY
  13. 2 points
    My second minuet and trio. I'm learning alot in writing these pieces. I would appreciate any feedback, I have no idea whether it's absolutely awful and impossible to listen to the end? Are the melodies boring? Is the harmony awkward? Is it too predictable or cliche? If you played and stopped listening, please let me know why. Even one word replies such as, 'yawn' are valid criticism and appreciated because I'm blind to my own music. minuet_and_trio_in_G.mid
  14. 2 points
    I wrote a Romance for piano trying to explore some romantic harmonies I'm not very used to. It has a ABA' form. A is like a Funeral March, but It should be in 4/4 metric to be a Funeral March. B is a more lyrical section, contrasting in texture and tempo with A. At the repetition of B there's a modulating section using dim7 chords. Any comments regarding style or harmony are wellcome. Hope you enjoy it!
  15. 2 points
  16. 2 points
    My first attempt at AAB (then a lil a) form
  17. 2 points
    This is an orchestral miniature I wrote recently. I've been wanting to improve my 'grooviness' and orchestral writing overall, and this is one of the results. Hope you like it, and please, share your thoughts or comments! 🙂 (please forgive the still very messy score, it needs some cleaning up)
  18. 2 points
    As part of my Arts Award, I composed a couple of bassoon pieces as my topic was music. I was hoping to get some feedback that I can include in my review: anything would be greatly appreciated 🙂
  19. 2 points
    Concerto Grosso in g major: Concerto grosso in g major written in the early italian school after Corelli for two solo violins, solo cello, strings and basso continuo. Written to my son Jonas. Key signature i used for this piece is G major (Everything rustic, idyllic and lyrical, every calm and satisfied passion, every tender gratitude for true friendship and faithful love,--in a word every gentle and peaceful emotion of the heart is correctly expressed by this key.) I. Grave - allegro. II. Adagio III. Vivace IV. Largo V. Presto Please tell me what you think. SimenN
  20. 2 points
    I would like to enter as entrant.
  21. 2 points
    Hi, everyone. A while back I posted some stuff here from my "soundtrack" for the Star Wars EU book Heir to the Empire. I recently finished a second one for its sequel, Dark Force Rising. It's intended, obviously, to be somewhat in the style of John Williams, and it incorporates many of his themes as well as introducing several new ones. Unfortunately, as I wrote this directly in the sequencer, I can't provide a score. I'll post the whole thing, but if anyone would like to skip around and listen to any tracks, I'd love any feedback. Thanks!
  22. 2 points
    I make dissonant music, and i don't think i have very big balls. If you like the sound of dissonant music you should just start writing it. Maybe listen to some of the famous composers of the impressionism, neo-classical and expressionism. You can start like i am doing now, imitate them.
  23. 2 points
    a little trip I had.
  24. 2 points
    I'd like to enter as entrant
  25. 2 points
    I am very happy you enjoyed it 🙂
  26. 2 points
    Yeah, i am totally into it. beginning is very calming, like i am meditating. At the 1 minute mark it gives me kind of the creeps hahaha, very cool. the beat at around 2 minutes is very nice as well. Overall very cool and satisfying
  27. 2 points
    I would like to enter this 'viral' competition as an entrant.
  28. 2 points
    Markus, what an thought trough statement. In all my years and disscusions on this subject nobody has ever said something like this. What you say is true. And as you say, most composers on this forum write post-romantic music. When they are attacking what i am doing, they forget that they are doing the same as me to an extent. No one on this forum do not write within a style, nor did anyone here invent their own style. Every composer are influenced and expressing themself within a practice or style. Some styles are more free, some styles are more restricted. Ask yourself this: When somone hear your "ture voice" works, what do they say? Do they mistake it for beeing baroque music? - no they dont. Do they mistanke it for beeing Classical or romantic music? - no they dont. Do they hear its post-romantic or modern? Yes they do. How is that? - Is it because the score is dated 2020? - Or is it because the music in buildt on practice and principles from modern music? - The lack of tonalcenter, the figures for modern music, the use of the instruments, the use of long notes and more rests then notes, the harmony, the structure and the form. This is your style and tratis, but you did not invent them, as i did not invent the traits of my style. If what you Maartin say is true, then we all are just copyists. How amazing is that. To actually say that a piece of music or art is just a copy its a bit mean 😄 Even as the practice is long gone, its fully possible to learn the craft and the language of the practice and write expressive music in it with one own crativitiy and voice. To be creative in the style is not to do something extreme that never have been done before, but a individual will allways have hes own traits (as explained over).
  29. 1 point
    I'm currently composing a march for an orchestra based off of a picture of the Battle of Iwo Jima and I'm kind of stuck at the trumpet fanfare that comes after the foreboding intensity of the previous brass chorale. There are 2 that are coming to mind and are in the key of Bb(which while not the key of the march as a whole, is the key of the trumpet fanfare) and I'm not sure I want to use either of them. The 2 that are coming to mind are the Star Wars theme and the US National Anthem. I thought maybe I could use just the first phrase of the melody of the US National Anthem and build the rest of the fanfare differently but even that is turning out too familiar, too predictable. So now I have no idea what to do. Do I just go ahead and use the melody of the first phrase of the US National Anthem overtly and just harmonize it differently, despite the fact that it will probably be super familiar to the majority of listeners(maybe with a textural creschendo and diminuendo within the phrase)? Do I start with the arpeggio and then write a completely different melody that is still in Bb major and still emphasizes long note values? Here is what I have so far of the piece:
  30. 1 point
    This piece is only made using chords. This is just an experiment. feedback expected.BTW Inspired from chopins e minor prelude.(op 28 no 4) https://flat.io/score/5ecfa73218c179027f492cdd-warning-cursed-audio
  31. 1 point
    Update: May use this as the beginning. How does it sound for a beginning?
  32. 1 point
    Thank you for participating, I really liked the three last variations, well done. Is it okay if I show it on my channel?
  33. 1 point
    Thank you! All the best to you 🙂
  34. 1 point
    Hi guyz Just like to share 2 songs i wrote and produced for one of my singers...... very hard to find jazz singers thease days Would appreciate any links to finding singers for collaborations x
  35. 1 point
    good performance. there are good ideas but you lose them with repetitive arpeggio and chromatic advances. in general, it will be more melodic if you base your theme on certain ideas. it looks more like etude this way, but it can be improved.
  36. 1 point
    These are hard as heck. Still, well put together. Bravo!
  37. 1 point
    They can play multiphonics. However, speaking as a flute player I would warn you to avoid them. The 2nd one in that picture is easy to produce - even a beginner can (again speaking from experience.) The other ones, however, are not easy. Taking the whole passage up an octave allows the 1st and 3rd to be produced (with considerable difficulty) but jeopardises the 2nd one.
  38. 1 point
    Very good ideas and creativity, but for me the piece sounds rushed and at some other points it sounds repetitive. It is okay, the use of consonance-dissonance is pretty nice and your melodies aren't too predictable (which I believe is good) like something I could compose.
  39. 1 point
    Very beautiful piece, and rich texture. Well done.
  40. 1 point
    I really like this! There's a great energy to it. I think one thing that I didn't like is the constant stopping, it sort of diffuses the energy that you build up with the 16th notes.
  41. 1 point
    I'm confused, when did Tchaikovsky start becoming underrated (I say this lightheartedly, of course!)? He's like the 19th century Russian Romantic that wasn't in the Big 5, right? Nutcracker, Swan Lake, Onegin, Violin Concerto in D, Piano Concerto No. 1, Symphony 5, etc.? Maybe I'm just out of the loop nowadays...
  42. 1 point
    great peace, i think the playback doesn't do the piece justice! I think IRL it would sound absolutely amazing. I honestly don't even know what i would do to make it better, other people have said the right things i think. anyways, keep going and have a nice day
  43. 1 point
    This is very true! (And the default is usually to play it divisi.) But I honestly think it has more to do with how others perceive you as a composer. If a composer neglects to clear up points of confusion, he may very likely be perceived as sloppy or lazy. Plus, it comes across as courteous to the orchestra: "Ah, here is a composer who put himself in our shoes and thought about how we might interpret these passages." Be kind to your orchestra, and your orchestra will be kind to you. 🙂
  44. 1 point
  45. 1 point
    Thank you @Bradley Scarff and @Tónskáld that’s very kind of you! The piece is in D Major not A I made a very silly typo, but when I revise the piece I will definitely take your suggestions into account.
  46. 1 point
    very nice. it is really well written. I enjoy listening.
  47. 1 point
    Elegant but simple, two things not so easily brought together in a single piece. Great job, Guillem!
  48. 1 point
    It just blows my mind how well you soaked up the late-romantic style, added some of your other influences to it, and created something so appropriate to different styles of the past, while being so relevant today. Seriously, amazing job.
  49. 1 point
    Upon request of a fellow YC member, here's the complete Sonata with its three movements. I must admit that the first movement is my personal favorite - but I'll say no more, preferring to stand by for your comments. Thanks in advance!
  50. 1 point
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