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  1. 5 points
    I have refrained from commenting directly on individual pieces until I have a chance to review all the entries after the deadline but I wanted to extend my respect and congratulations to all of you. This is really what this is about, inspiring the composition of truly outstanding pieces in the spirit of friendly competition. I look forward to hearing the all the other entries! Happy composing to all.
  2. 4 points
    Hi all, So, I've been away from this site for a few years - long enough that I find it has changed and my profile is completely empty! It's time to change that. In February, I had the opportunity to perform a recital of my own works, this trio among them. My colleagues and I decided afterwards that it would be worth the trouble to do a house recording of it. This is the result. My personal musical preferences lie squarely in the conservative German branch of the 19th century, and I've always believed that a composer should write the sort of music he or she likes to hear. That's what you can expect from this trio with respect to form, harmony, rhythm, and so forth. It's in four movements. The first movement is a traditional sonata-allegro with slow introduction. The second movement is a scherzo and trio. The third is a theme and variations, based on a melody I wrote when I was 13 or 14 (side note - NEVER throw away the ideas you compose when you're young!) The fourth movement is rondo-like arch form. I hope you enjoy listening to it as much as we enjoyed performing it! I have decided against posting the score. I hate to have to take this stance, but as an essentially unknown composer, I am deeply reluctant to post my scores to an internet site that is open to the world when I know colleagues who have been victimized by thieves stealing their works and claiming them as their own. Even with a legally copyrighted work, it is stressful, time-consuming, and expensive to take these people to court. I apologize to those who would have liked to see it.
  3. 4 points
    Lately we talked about destruction of music, etc... Well, I did this piece.
  4. 4 points
    Thanks for taking the time to listen, Willibald - I'm glad you enjoyed it. Regarding the composer competition, I certainly agree with you. I've seldom found much enjoyment in listening to mid to late 20th-century art music. The peculiar thing is that the general market is not actually especially interested in academic music. There's interest among performers and composers, but the vast majority of concert-goers would prefer listening to a Brahms, Bach, or Mozart over a Boulez, Babbitt, or Cage, for instance. Modern composers are often quite removed from this market, partly because it is incredibly difficult to gain a foothold against the established repertoire, and partly because there simply isn't enough demand for classical music to allow most composers to make a living of it. Thus, they pursue it as a hobby in the way that Ives did, while earning their living doing something else. I think what's really at play here is that most post-secondary composition instructors of the past couple of generations grew up in the academic climate of the 50s through 70s - an era that was marked by a striking intolerance for utilizing stylistic elements from past eras in an effort to advance music in the same way that all other fields were advancing - and they push their students to continue this tradition. Most composers are intelligent people, and they pride themselves on this intelligence. They do not want to be regarded as unoriginal, nor as individuals incapable of handling the complexities of highly advanced modern music. Those who did dare write more traditional music (Barber, for instance) often received scathing criticism from the proponents of the new style, and students who were not lucky enough to have an open-minded professor at school were likewise scolded for their lack of originality. This peer pressure can be extremely persuasive, and in my opinion is the primary reason that avant garde styles came to dominate the art music world. Unfortunately, this played a significant role in killing off demand for serious art music (which was seen as necessary by many of the chief proponents of the avant garde movement). The effects are still very much present to this day. A few years ago when I was checking in here more regularly, I remember seeing numerous examples of composers in this forum posting nicely written music in traditional styles who were admonished that they should be "finding a fresh, original voice" rather than imitating styles of the past. Invariably, these detractors were modernists, and ironically, their music was seldom any more creative or original than the composers they scorned - they were just imitating a somewhat more recent style of music. The idea they persisted in advancing - that one MUST employ the tools of the modern era in order for his or her music to be relevant to the modern era - always struck me as deeply flawed. If older musical styles are no longer relevant, why do we still listen to and adore them? Why are they still, to this day, more popular among the concert-going public than modern art music styles? The argument only makes sense if one feels that the primary purpose of music is to advance and evolve. All that said, it also makes no sense to me that anyone would claim the world would be better off had avant garde music never been explored. There are some musicians who genuinely believe that this is the most beautiful and expressive music in the world, and they should not be scorned for it. There are also many who find a real sense of fascination and intellectual fulfillment in the process of writing in serialist, aleatoric, and other avant garde styles. I actually think that for many of them, that is of much more importance and relevance than the resulting sound. And there can be no denying that such music is a greater communicator of certain emotions than the tonal system could be. I suppose, in a nutshell, that I wish people would stop trying to pressure each other into writing in their own preferred style. Write what you enjoy - not what you're told you should write. Unless, of course, you make a living writing music for other people, in which case what you write should probably be something they want to hear. :-)
  5. 4 points
    Instructor: @Monarcheon Students: max. 10 Expectations: Composers will learn about music from the contemporary/modern period, analyze it deeply, and will write music in this style. This should span over about a month and composition assignments will be used. Week 1: Bartok - form Week 2: Webern - interval set/vectors Week 3: Messiaen - rhythms/time Week 4: Cage - intro to musical philosophy AKA "real theory" Special Notes: This is our first test long-form masterclass... structured to be more like an actual class. It's a test because I don't know how many people will be interested/care. Let me know if you're interested in the comments.
  6. 4 points
    Hello, I started to write music in 2006. In 2011 received an international award for music for couple of short films. I write almost film and theatre music as well as music for listening. Here is a track from upcoming album "Excitatus". Hope you'll enjoy :)
  7. 4 points
    I don't know where you're getting this impression from....but to answer your question, I DO consider them musical compositions (whether they are "worthy" or not is subjective). As to the minimum length requirement, I've listed out my reasoning below: 1. This is NOT a contest for miniatures, never stated anywhere that it is. From what I understand, "miniatures" can be as short as a minute and as long as 5-6 minutes. I also gave the option of submitting multiple movement works to meet the 5 minute requirement, so I don't see the issue in all this. 2. The competition was announced in the middle of May, and I set the deadline to the middle of August. Entrants had THREE months (and still have less than a month) to come up with an entry. If the timeframe for submission was shorter, as it used to be before (I believe we had a month and half or two months?), I would understand the need for no minimum requirement. But with this longer time frame, one would expect something longer. 3. I believe someone brought this point up earlier in the thread, that these contests should be a way of challenging yourself and forcing you to step out of your comfort zone. If you're used to writing short pieces, this should force you to develop your music and expand your material. In the real world, you need to adapt to changes/requirements/constraints thrown at you...because life is unfair at times! If I start to make exceptions for everybody's issue with something, that would defeat the purpose of setting the rules and constraints in the first place...
  8. 4 points
    ... that you've done on stage or has happened to you on stage? Here is something I did many years ago that still haunts me. I was in my college orchestra as a percussionist. As you know, percussionists are expected to play a variety of percussion instruments. Actually, all of them. People think it's easy, that we just sit around until we're needed. Then we get up and whack something with a mallet. But you try counting rests for seventy-five bars with a conductor that's all over the place. It's not easy. One evening - a very special evening - we played Scheherazade by Rimsky-Korsakov. The violinist was superb. Everyone was dressed to kill. In this piece, at the peak of tension, there is a wicked duet between the trumpets and a snare drum that consists of a fast, relentless sextuplet figure that goes on bar after bar ... The trumpet double tongues it (good luck!) and the snare drum marks the rhythm. It's a very difficult thing to pull off, keeping both instruments together for the duration. So what happened? Did we screw up? Embarrass the school with sloppy playing? No, my friends. We played it flawlessly. But what I can never forgive myself for doing is this. I played these marvelous sextuplets in a three piece brown suit. Courduroy, nonetheless. Everyone else looked dignified in black while I stuck out like a pretentious used car salesman. Oh, the shame. The humiliation! I remember going shopping with my mother to pick out the suit. Did I actually say, "I'll take this one, it's only $60?" Oh, the shame. Please share your embarrassment - if you dare.
  9. 4 points
    I composed this piece in late 2010-early 2011. I composed it for a string orchestra, a string quartet, and a woodwind quartet (flute, oboe, clarinet, bassoon), and solo piano. This was my first attempt at a serious large scale work and it obviously has flaws in it. I couldn't find the original finale files, but I have the audio and a not so cleaned up score, but I'll update it when I find it. I also presented the work to my orchestra conductor at my college, and it was premiered by the chamber orchestra I was part of. I was NOT satisfied with the performance (due to many reasons), but I will include a youtube link to the performance of it (the 1st movement was not played in the live performance). Any comments/reviews/bashings appreciated :) The link to the live performance (the audio/video are not exactly synced for some reason):
  10. 3 points
  11. 3 points
    Put it in your "Ideas" folder and keep it for later. Actually I don't have any "ideas" folder because most of the time I just title ideas as... "idea". But my compositions folders are organized according to the period of creation (by period I mean... new level in musical development, last time I opened a new folder was after the first time an orchestra performed my piece) so they look that way: but you might consider creating an "ideas" folder. When I can't come up with a new thing I just look for a project named "idea" and start from there.
  12. 3 points
  13. 3 points
    First of all, great that you want to learn to compose! I can share my composing advice. When I started to compose, which is circa 2,5 years ago, I did not know anything about music theory. I did play saxophone and I learnt to play keyboard. So, I was familiar with reading notes and chords, but harmony, form, counterpoint etc. were terms I never had heard of. To be clear: my first compositions were garbage, but I am so glad that I wrote them. Every 'mistake' you make, will help you with composing the next piece. Experience and doing it is the key. I started to imitate and copy Mozart's first minuets so that I became familiar with standard forms and harmony. Furthermore, I listened to all kinds of music. Since you say that you already have some knowledge of theory, I think you should just start composing. When you do not like the result, do not delete it, but look why you do not like it and what you could change so that you will like it. Good luck!
  14. 3 points
    Little fantasy adventure piece I never posted. I hope you guys enjoy it!
  15. 3 points
    It's interesting to me that composing isn't something more people are encouraged to do. Think of how young you were the first time you drew or painted. What grade were you in when you wrote your first story? You didn't just look at other people's art and listen to stories others had written, it was expected that you would like to make your own as well. We spend a lot of time exposing small children to music, and fortunate ones also learn to play music, but not many are given any tools or guidance to compose their own. And yet all preschoolers make up their own songs and sing them without a second thought. So I have a question for you. Why do so many people NOT compose? Why do I create music? Why not? When the tune comes easily and all I have to do is write it all down, I'm frantic to write it out before I forget something. When I have an idea of something specific that I want to do, but I don't quite know how to achieve it, composing feels more like solving a very difficult puzzle. I try lots of possibilities, very diligently, and may change my mind several times. It usually takes me between a week and a month to complete a three-minute piece because I like to put it away, clear my brain, and come back to listen to it again with fresh ears to be sure I still like all my decisions.
  16. 3 points
    Hi everyone! I just released my debut piano album on 25th of October, so it´s still very fresh. It contains 10 of my original compositions and 1 re-make of an 80´s pop song which I´ve made on a request of the artist himself. Please take a listen to the full album here and let me know how you like it! If anyone would be interested, you can buy the album here: https://oliverbohovic.bandcamp.com/album/ballerina
  17. 3 points
  18. 3 points
    I think i'm finished with this one although unsure about the ending. I wanted to write something a bit faster than I normally would. I don't have the score as Logic is terrible for that. Enjoy and comments welcome as per. Any feedback really is welcome, good or bad.
  19. 3 points
    Hi, I'm a composer student from Spain. I would like to present my composition for my own video. I'm in a project to create videos and music during my year in Helsinki. Im not hapy at all about the quality of the sound, but anyway, this is my video:
  20. 3 points
    When I visit a member's profile, it would be nice, I think, to see a list of links to that person's music, that is, to pieces previously posted on this site.
  21. 3 points
    This prelude was inspired by an autumn walk. Any kind of criticism is welcome! Prelude 1 Op.2.mp3
  22. 3 points
    A short piece for solo piano, basically a variation of the same theme in 2 parts, separated by the change of dynamics.
  23. 3 points
    Greetings YC Family! It's been a long time since I made a post and visited the forum. For those of you who may recognize me, you know that I was once an administrator on this site. My years on here have aided me in my ventures within the past decade. One of these ventures was the setup and creation of an online radio station devoted solely to promoting the works of new and emerging composers. This post, thus, serves two purposes: 1. To promote Et Lux Radio and encourage each and everyone of you to listen to the music of your peers as it is broadcast 24/7. and... 2. Make a formal call for live, or rendered, recordings of your works along with a signed affidavit giving Et Lux Radio permission to include the works within its broadcast. Submitted recordings need to be downloadable and in .mp3 format. They can be for any instrumentation and must be under 25 mins in length. Please include in your submission a brief biography and any related program notes for your works. Submissions can be emailed to jaowoodr@gmail.com! Thanks and I look forward to hearing your works!
  24. 3 points
    I could also write about some of our history, which could be quite interesting. We'd need to get a few of our old guard members on board to help though.
  25. 3 points
    This is Wildflowers, one of my original compositions! Thanks for checking it out, feel free to comment questions or feedback. :)
  26. 3 points
    This is what happens when you have to write daily pieces and you get bored with writing crap. I'm quite proud of this work, even though it may not be conventional in any sense of the word. I hope you enjoy this one!
  27. 3 points
    This piece was supposed to be an introit or "requiem" movement to a requiem I was writing until I realized I hate writing with established formats (i.e. symphony, sonata, etc.) so this piece remains as is. As such, the final buildup was planned to up an octave and take two phrases instead of one to descend the second time through, but I never wrote a "second time through" so what's here is what's here. Enjoy!
  28. 3 points
    I have had the good fortune to live on Central Park in New York for six years. I’ve had the place all to myself in the winter and have had to share it with tourists in the summer. It has many points of interest, such that each are singular and need no colorful qualification. There is The Lake, The Pond, The Meer and The Beach (yes, the park has a real beach). The Sheep Meadow, The Bridal Path, The Boathouse, and so on. One of each. And the Carousel. That too, unique, except for the children who are always the same at five years old. Their mothers bring them here to go around on the wooden horses as the motor cranks up and up and up and the jangly circus music begins, and all the many little hearts that beat so fast in their fearless joy … I wanted to share this little vignette with you. Sorry, no score, but I can give you the instrumentation. 2 clarinets, 1 bassoon, 1 Horn in F, Bb trumpet, piano, harp, glockenspiel and strings.
  29. 3 points
    I like how @Monarcheon picked Thoroughly Modern Mille (such a fun musical)! I guess my broadway dream conducting would be for Phantom of the Opera and Carousel. In terms of concert/opera music: 1. Rite of Spring and/or Petrushka- Stravinsky 2. ANY Mahler work 3. Beethoven's Symphony 7 4. The WHOLE Ring Cycle 5. Ravel's Daphne et Chloe (the ballet, not the suites) 6. Prokofiev's Romeo and Juliet (again the ballet, not the suites) 7. Berg's 3 Pieces for Orchestra 8. John Adams' Short Ride in a Fast Machine oh there are so many more....
  30. 3 points
    I meant no harm at all and to be honest I never really thought about it. I added an "NA" field to those of you who don't wish to leave a gender.
  31. 3 points
    Congratulations to all of you for making it this far, and a hearty round of applause from me for our three prize-winners, Emiliano Manna, danishali903 and bkho. I am happy to see that this competition has managed to draw out a great deal of inventiveness and flair from our members, and I was especially pleased with the increased effort at professionalism from our panel of judges. Many thanks to Monarcheon for co-ordinating this competition and seeing it through to fruition. Well done, all!
  32. 3 points
    A suite made up of sketches 58, 62, and 78. I like this better than the first, personally, since I actually studied this type of music before these sketches, instead of mindlessly writing what I thought this type of music was. Enjoy!
  33. 3 points
    Tchaikovksy really dealt it out didn't he?
  34. 3 points
    Everyone has blind spots because we are focused on something else that we think is more important. That's why it's necessary to have impartial listeners. If you really like to write music, then you owe it to yourself to take lessons with someone. It doesn't have to be composition, just piano. You will learn so much!
  35. 3 points
    I am very pleasantly surprised. Very! I thought that the entries with complete orchestras with their nuanced pastels would win over my primary colors. Everyone here contributed a unique and compelling angle to the contest. Thank you. Also, many thanks to the judges who gave up their considerable time and expertise. I hope it was fun for you too!
  36. 3 points
    Wow, a bronze medal!!!! Well done, Ken! It's just fitting that you've got the first price - your work was outstanding! Hopefully this will reaffirm your confidence and help your growth as a composer. Monarcheon's silver medal is nothing to frown about. The solo cello played the role of Hamlet as convincingly as any actor. Everyone else: great job! It's been a pleasure to have this many great pieces produced as a result of this competition. Looking forward for what all of you will show up next.
  37. 3 points
    Hello Everyone! Just an update regarding this competition. The judges are almost done with scoring and reviewing and the results will be posted this Friday! I will compile and post the scores/reviews in another thread (a link will be provided). In the meantime, keep an eye out for our fall competition guidelines, which I will be posting in the next few days! If anyone has any suggestions for future competitions, please let me know (or post them on the gazillion threads here).
  38. 3 points
    I have a question; when you were deciding upon accidentals for measure 41, did you ask yourself: "To ♭ or not to ♭?"
  39. 3 points
    Here's an original I wrote a while ago.. Had a bad day today, and this piece is relaxing.. so thought it might help some one else too.. I listen to it now, and have no recollection of how I did it, or got to the point to lay these tracks together.. I think Keith Richards said it best.. When asked how he managed to write hundreds of songs, a number of them top 10 hits.. He responded with, "I receive, I transmit."... Sometimes that happens to me, I get lost, and it just comes out, and I just try to stay out of the way, and not ruin it, by overthinking it.. The ending which seems to come out of nowhere, was in a different key than the body of the song, which gives it, that (I'm doing this with conviction, but I don't know what the hell I'm doing feeling).. gives it a weird enough twist..
  40. 3 points
    There have always been a much greater amount of bad music being currently written than good music, because write good music is hard, and write bad music is easy, it's not matter of this current present only, but all presents in the past, what happens is that time works as a filter, and only good music survives, and bad music is forgotten, that's why it looks like in the old times was written only good music, because the old trash has dissapeard, and now is trash all over the place, but don't worry, time will clean it, and bad music will be forgotten, and good music, beyond our personal opinions, will survive even if someone tries hard to distroy it. What I'm trying to say is that we do have our Bachs and Beethovens right now writing their masterpieces, but recognize them in the middle of the current jungle, is always a very hard task, besides is not up to us to pick them who's yes who's no, time will do it. Sometimes looks like time makes mistakes, but no, even if something good is being drawn in centuries, if it's really good it will come to surface like Vivaldi. We musn't forget our classics were all contemporary at their times, writing the most complex and difficult music of their days, No one said "I am writing classical music", they all were pushing the current style into the next step, No one is remembered today for writing "old style" music. One example to finish my post: An Old lady was listening to Bach in the church, He was playing "Sleepers Wake", as you may know the theme of this isn't Bach but a older hymn, the lady kinda recognized the theme along with the other line Bach added, she went to search the priest and accused Bach to be destroying the hymn, that he would not being allowed to do such things, that the other lines added were not even according to the theme (the Lady's critic on Bach counterpoint) that modern styles must be forbidden, it was a sin, it had too many notes were not even capable to listen or pay attention to all, etc etc all kind of negative "musical" critics. There were tons of organist, composers, back then, non of them were making those "modern" stuff, only Bach, and only Bach is remembered, the others are dead, and the lady ? made an historical ridiculous mistake.
  41. 3 points
    This is kind of a piece I had written before knowing much about theory, but knew enough about composition and form to formulate a coherent piece. It didn't help me get into Oberlin so I'd love to hear why from you!
  42. 3 points
    Austenite, I want to offer my apologies to you regarding my recent comments on the contest. I was trying to make a point and it got tangled up in my head in some sort of abstraction. And I used you to pull off the point I could not adequately express. I am sorry for that. You must know that I respect your music and will always welcome your contributions. Please accept my apology.
  43. 3 points
    If you think that that title is long consider this: (I've been reading Chopin's biography) "On 16 November 1848, Chopin gave a concert in London's Guildhall for 'The Annual Grand Dress and Fancy Ball and Concert in Aid of the Funds of the Literary Association of the Friends of Poland.'" I thought my title was cool until I read that. I was bested! I am re-posting this because of improvements I made in the orchestration and recording, and the instruments and libraries are all new as well, and at great expense, and hopefully for good effect. I like the new design very much!
  44. 3 points
    I wish this piece existed in live performance, I just hate midi more and more...
  45. 2 points
    Well, here's an interesting discussion. Would that they were not so rare these days! To answer the original question, most (but not all) of my music falls within an immediately identifiable historical style. Within the fairly narrow confines of that style, I invariably try to do certain things differently and uniquely according to my own sensibilities, while remaining as faithful to the style as possible - creating something new with old tools, as it were. I've been told this gives much of my historicist music a flavour that is uniquely my own, and I would like to believe this is true. It is certainly something I continually strive for on some level as I compose. There would be little value to my self-expression in this manner were there nothing about it that is mine, and mine alone. That said, it is not of paramount importance to me that my personal expression is as unmistakable as that of Beethoven, for example, only that I have been at once true to the historical style in which I am writing, and to my own artistic sensibilities. Likewise, in my "modern" voice, I follow the dictates of my own sensibilities in hopes that what results is something that is my own unique expression.
  46. 2 points
    It is playable without too many difficulties:) Those double-stops are easily doable in the first position. Moreover, all chords here are in an octave, which is within the normal range (ninth and tenth are plausible but requires more skills to play) To be precise, the fingerings are as follows,
  47. 2 points
    Great Work! I'm happy to see your evolution as a composer. I like very much the way you take advantage of the colors mixing unexpected instruments and your harmonic languages. The music you write "enters" my mind straightforwardly, and I love it because it's fresh .... Perhaps you're not totally satisfied ( I guess we should never be with our works) but this is nice work and coherent from the first to the last bar. I love Macbeth story (big fan of Verdi's opera) and your music took me to that worl. Congratulations!
  48. 2 points
    I would contact one of the organizers. Small percussion instruments can include cymbals, woodblocks, tambourine, and more.
  49. 2 points
    This composition has two stylistic faces: the opening reminds of Wagner or Mahler with frequent chromatic motion and then firmly establishes free diationic C major for most of the time ever since the choir entered. Throughout the music I began to miss more chromaticism. Since most of the piece is in relatively slow tempo, it is a bit too long for what it offers. It is nice music though. You must have something against tenors though, you really use very high register most of the time. BTW, glad to hear live performance. Congratulations!
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