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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. 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
  3. m. 7's Gr+6 and dominant harmony hybrid is a little off to me because of the minor ninth.
    2 points
  4. 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
  5. 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
  6. hi! this is my first work. its very short. untitled.miduntitled.pdf
    1 point
  7. Recently I started doing orchestral sketches. Just writing 4 bars of music. Trying things out, experimenting, learning, willing to understand what's happening and why certain things work and others don't. I see it as my personal growth path as an aspiring composer. It's a practical exercise - DOING without judgement - with a slight touch of theory in it. I love doing it, hopefully you enjoy it too. LATEST SKETCH PLAYLIST OF ALL SKETCHES
    1 point
  8. Really beautiful!! Somehow the middle part is right on top of that exciting line where it seems like it won't work out but ends up working out perfectly well! Really cool and satisfying to hear!
    1 point
  9. Really I just did this because I wanted to test out a mixture of different software and see how well they would work together. See for yourself and let me know what you think. I might do a more serious spooky tune, but this kind of style was a better, more strenuous test for what I wanted to do.
    1 point
  10. 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
  11. I'm reuploading my old works (some I didn't know if i upload it here at all), corrected and written the best possible. Today I bring you this écossaise.
    1 point
  12. Thanks @Left Unexplained! I love how big classical composers can combine naivity and drama in one single piece, and that's what I tried 🙂
    1 point
  13. Hi @PaperComposerThanks for the feedback, I'm happy you like that. Yes, I finished the last bars with a Fugato using the head of the main Theam with some cadences over the dominant to prepare the final cadence. I wan't sure to write it in 3/8 or 3/4. It could be a minuet as you say, but I see the tempo slightly faster, that's why I chose 3/8.
    1 point
  14. I forgot to mention about the choir - the individual singers in a choir can also stagger their breathing so that no two people ever breathe at the same time - they just write their individual breath marks into their parts. And you're welcome!
    1 point
  15. The reason I didn't make a score is because it is an unrealistically orchestrated song (unless you're an air pump).
    1 point
  16. ok in that case I will try to make a score tonight, and thank you!
    1 point
  17. I don't think it's unrealistic - there are pauses between the phrases which should allow for breathing (in the beginning) or they could quickly sneak a breath in between the chords. As for the woodwind scales you have - those could be staggered between two players on a part. Nice job evoking the emotions it was meant for! It took a few listens for me to appreciate the mood you were going for.
    1 point
  18. nice. I like it. there is better soundfonts compatible with musescore, (personally) here is a better reference;
    1 point
  19. Thanks for your guy's help on this.
    1 point
  20. https://cinematography.com/
    1 point
  21. Sorry, PaperComposer, I wanted to answer to that comment too and I totally forgot. I agree with you. It is true that in composing this suites I am not focusing on making them danceable since I am trying to give them more of a concert feeling. However, I also like it better at slow tempo, but when I slowed it down further I felt it kind of lost the characteristic fast running notes of the courantes. I think the danceable feeling could be given by letting the music breathe, which I could not accomplish with the notation software. As an example, check out this rendition of one of Bach courantes.
    1 point
  22. I'm in the same boat as you, Left Unexplained. I need to learn theory as well. But you seem to have a grasp on notation. Your music sounds good. Your piece 'Genesis' sounds akin to Danny Elfman's music at the height of his career. There is a film makers site that has a similar layout to this site; If you're aspiring to become a film composer. I am sure you will grab someone's attention if you post you will create music for film.
    1 point
  23. I am glad you enjoyed it DarrenEngland! 🙂 Regarding the intervals, I must say first that when I compose I rarely let many things guide me besides my ear. I leave most theoretical knowledge for the studying of others works or as a tool when some part sounds off. In spite of that, in this case, I think the intervals are common among baroque composers (at least, I believe Bach did use them in many of his pieces). I think one of the reasons is that most of those rules are usually only applied in counterpoint and melodic exercises as a didactic method, but then they are often broken in non-di
    1 point
  24. Nice Courante! I'm looking forward to a Sarabande next? Besides the remarks up above I would also mention some of my own nit-picks: In m. 24 on the & of beat 3 you could change the G to an F to avoid a tritone with the C# in the next measure and it would also be a nice walk down to the E that's part of the chord structure in the next measure. Likewise, on the & of beat 3 in m. 25 you could change the A to a Bb to make a stronger resolution to the A in the the next measure. In the same vein, the Bb in m. 26, on the & of beat 3 could be an A to make a cool walk down from Bb to A
    1 point
  25. I really enjoyed it! I think it works as a prelude. 🙂
    1 point
  26. I really enjoy your cello music, it captures the baroque feel and is really expressive. Looking at your score I notice some melodic intervals that may not be in the style but I could be wrong. A major 7th in bar one, a dim 5th in bar 2, a minor 7th that doesn't resolve downward but continues up in bar 3, another major 7th in bar 4. I thought of a solution to the awkward intervals which I've added here but its probably not the best solution possible.
    1 point
  27. Yes, the B section really starts after I recall the small Bb-A-D-G motif, although you could consider the first fragment in G# minor some kind of B theme. I consider the structure of the piece an ABA', but the B section can be seen in two ways. Because when I was composing it, the slow part was kind of a transition to make sure G# sounded totally natural. (Because modulating from G minor to G# minor can sound a bit funky if I don't make sure the listener is well settled.) So you can see it a part of the transition or a subsection of the B theme. And glad to see y
    1 point
  28. Hey, I just composed my first commission ever. I hope everyone enjoys it and if you have some feedback I would appreciate it. 🙂 Idk what else to say so here you have it:
    1 point
  29. Hello. Thank you very much for listening and reviewing. First question: Yes that was intentional. Its still in the high bass register, and lower in pitch then the first exposition. The was no plan for a 4 voice fugue in its traditional meaning. More of a trio with contiuno (comes from doing too much italian baroque...). The therm fugue might not be the right one in this piece, fugal sections or fuguish. At ms 72 its not the entire theme playd, so the real entry is in 79. Could offcourse used the episode to go somwhere else, but Gm is where it went after all... Second ques
    1 point
  30. This is a nice emotional work that somehow avoids cliche! I like the main theme. Does the B theme start at m. 35 or maybe m. 47? Although m. 47 seems more like a variation of the original A theme - I think from m. 47 onwards you really do some of the best work in this piece that I've heard - very emotional. Now - m. 100 is obviously the "true" recapitulation of the A theme so maybe the previous material was the B theme that the person who commissioned this gave you? Very interesting piece! Nice job!
    1 point
  31. Interesting, never heard anything like it before! Well made Hendrik
    1 point
  32. Awesome! What's this for? Will we get to hear a live performance? Or is it for a film or video game? Regardless, getting paid and having a deadline is a great motivator for your music, as I've found under "stresses" it can bring the best out of you. Plus you can use this as a giant upside in your portfolio for your future endeavors. This piece flows very nicely, nothing seems out of place as your transitions are well crafted. Make sure to keep in touch with the client; you would be surprised how their word of mouth promotion of your music can help with finding more work. Well
    1 point
  33. I think is a very well acomplished piece. It reminds me of music of a Studio Ghibli movie. Is it in a ABA form? If it is I love B section (when the adante starts) and how contrasting and full of relief it is when the main theme comes back. Well I guess I'm going to repeat myself to say that you've done a very good piece of music.
    1 point
  34. @Quinn I'm glad.... Your piece really fits in an operatic setting. I love opera, in fact I listen to it more than instrumental music. Finding a libretto, or writting it will not be easy... Best luck! Hope we know more about this project.-
    1 point
  35. I like it ... it has a certain Thomas Newman flavor to it. Apt music to express some dark emotions...
    1 point
  36. Another project I am working on.
    1 point
  37. 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
    1 point
  38. @Esper I like it. As for how to continue... it depends on what you have in mind. To me it reminds of Flower OST, so you might want to give it a listen. https://youtu.be/25RC2PX_EZI
    1 point
  39. Hello everyone! This is a Minuet and Trio for Cello that I composed these days while studying the Minuet and Trio form. The Minuet is in F major and the Trio in F minor. Both of them follow the practice form of [:A:][:BA':] with 8 (A) + 16 measures (BA'). I decided to compose a Minuet for the Cello because of my admiration for Bach Cello Suites. I do not play Cello and it is my first composition for it, so any feedback related to playability or idiomatic composition is appreciated! I tried to make sure all the double, triple and quadruple stops were possible to play (I used Piston's
    1 point
  40. Hello everyone! Recently I started reading Schoenberg's "Fundamentals of Musical Composition" and I decided to write several compositions of the simple forms from the book to try to apply what I learn. The first form was the minuet and this is the first minuet I composed. I composed it in a rather free way (I plan to compose a few stricter shorter minuets next, trying to make them simpler since I keep overcomplicating things when composing). The piece follows the minuet [:A:][:BA':] form with the following tonalities and number of measures: - A: 16 measures
    1 point
  41. I like the mood you manage to create here. I noticed that the melodic line in your very last revision is lost some of the time. It's too bad because I really enjoyed it in the previous versions of this piece. Are you sure you're not over-revising and changing things that don't need to be changed?
    1 point
  42. Hello,, Here is a piece, which I wrote several years ago. I think that I posted it before (without score). I have now revised the piece and also include the score. I have added a simlified version of bar 25-26 for the r.h. My piano abilities are only moderate, and I am not able to play the original (better) version. This is something for the accomplished pianist. I am interested to learn what you think about it.
    1 point
  43. I bought a guitar, so I thougt I should make a guitar centric music.
    1 point
  44. Alright, thank you so much for all of your guys' suggestions. I forgot to tell you that is piece is being played by my high school's orchestra (which is not very good haha) so I couldn't fully explore what I wanted with this song, but here is the first rough draft if any one would care to listen. It's only the first movement, but I hope you enjoy!.
    1 point
  45. 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
  46. Nobody cares if your puns were intended. *sigh* how many times will I have to post this?
    1 point
  47. hit head for, cactus you testicle; tree is be.
    1 point
  48. While it is true that scientists are often very passionate about their work, when it comes to publishing results, they are forced to write their papers in a very dispassionate style and format. What I'm suggesting, really, is that scientist-composers see music as a forum in which they can overtly express themselves in written (and thus permanent) form. The same goes for scientists engaged in other arts.
    1 point
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