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Showing content with the highest reputation since 06/18/2019 in all areas

  1. 1 point
    Concerto per violino, archi e bass continuo in b minor "Paradiso e inferno". written 20.06.19 - 25.06.19. Been some time since i wrote a concerto, so here is my summer contribution. Three part concerto written in the late italian school. I. Allegro - paradiso: 4/4 time, livly tempo and fugures, high in the register of the violin (Heaven it is!), the triumph key of d major. II. Adagio - cadere dalla grazia (fall from grace) 4/4 time. slow pace, rethorical use of rets, b, minor III. Vivace - inferno, 4/4 time, fast pace, slaming fugres, chromatic downward passages (going down to hell), b minor Please tell me what you think SimenN
  2. 1 point
    A small test of Cinematic Studio sounds. Only the harp is from the other library.
  3. 1 point
    Here's a personal project of mine. Space is a wonder to me. The first man ever set his foot on the moon 50 years ago. Being a music composer, I wanted to do something for this anniversary. The project got so big and ambitious that I wanted to make a clip for it. And I got lucky when NASA announced that they made their footage copyright free. So I bought video editing software and made my first ever cut. I'm definitely not an editor but I had a lot of fun making this video. Here is the link to the music and video. https://youtu.be/EcvL36-x_Ec
  4. 1 point
    So a year ago, I had this idea of composing a suite that would represent different types of weather. I would call this suite Weather Music. But it wasn't until a few days ago that I actually started composing part of the suite. What part did I start composing you might ask? Well, I started composing probably the most intense part of the suite. That's right, I composed the part of the suite that is supposed to represent a storm. I am like exactly a quarter of the way through finishing the piece. But before I even started composing it, I was like: Full orchestra example: Beethoven here is really getting across the feel of a thunderstorm and the calm after the storm with the orchestra here. String orchestra example: Probably the most well known example of a storm represented in music. So well known, that it itself is often called Storm when played without the preceding 2 movements of Summer. There is no calm ending to the music at all. Piano example: Not directly a piece representing a storm unlike the previous 2 but it could very well be interpreted as stormy music because of the tempo and all the octaves. So I had a lot of pieces to go on as to how to get the feeling of a storm across. The only real questions were what key to have the piece in and what to compose the piece for. I eventually decided on piano solo because that is my area of expertise. I mean I am a very advanced pianist and I started composing in my intermediate years, mainly piano works. So it makes sense that composing for piano would be a natural thing for me because I know my abilities and limitations as a pianist. I don't directly know those same things for flute, violin, or any other instrument the way that I do for piano. The only way I know these things for other instruments is by studying the instruments and pieces written for those instruments. This is how come I know that out of all the possible piano-not piano duets that exist, the most balanced is the cello-piano duet. This is how come I know that a forte dynamic in the first octave is impossible on the flute. It has to do with pieces that I have listened to that are written for those instruments and other ways that I study the instruments. But no matter how good I get at say writing for flute, my piano composition skill is likely to always be superior because I get that skill directly from my knowledge of music notation, music theory, and 10 years of experience playing the piano, no studying piano pieces out of context of playing them required at all. Plus I have several other non-piano works that I am working on(namely my first symphony which might take me a year just to get the piano draft of it finished but that's okay) Anyway, back to my storm piece. That was quite the digression there but I just felt like I had to get it out. I decided to have it in the key of C minor because it is very easy for me to improvise in the key of C minor and simultaneously get it to sound very expressive. It is almost impossible for me to do that same thing for C major(which is partly why I mostly avoid composing in C major). And stormy is 1 feeling that is very natural to the key of C minor. In fact, just about any emotion that you can get out of a key is a natural emotion in C minor under certain conditions. Even happiness is a natural emotion for C minor. How I'm getting across the feeling of a storm So 1 thing that I noticed in common in nearly all pieces of music that I would consider to have a stormy character was octaves. But not just any old octaves. No, the octaves I noticed in stormy music were very fast and they were alternating. Very commonly, I would notice that almost the entire bass line is in octaves(as is the case with the Beethoven examples) or otherwise as in the Vivaldi example, the repeated notes in the bass would get across the same feel as octaves would and the octaves only really exist if you combine the bass and alto lines. So naturally, I took these octaves and applied them to the left hand part of my piece and the only time these octaves would be slow was in chords. Even when I state the Fate Motif, it isn't slow, despite being a rhythmic augmentation of the original motif just because of the fast tempo. I so far have done all these things to get across the feel of a storm: Keep up the momentum of the 16th notes except in certain spots to make the entire piece sound dramatic Use a minor key because the same drama would be hard to get across in a major key, even taking everything else into consideration Use scalar passages with unpredictable leaps to represent the strong wind by giving a chaotic feel to what would otherwise be a normal scale. Use diminished 7ths more often than dominant 7ths just to add more drama Use the Fate Motif as a bass line during some of the scalar passages to represent the lightning flash. Use chord progressions to represent the thunder that comes after the lightning(this is what I mean when I say that the octaves are slow in chords) Have the melody in the right hand outside of scalar passages be staccato to represent the rainfall Under the staccato melody, use fast octaves to give a sense of turbulence, which is very fitting for a storm Use stark dynamic contrast between passages representing thunder and lightning and passages representing rain Creschendo to a loud dynamic Suddenly get quieter Presto tempo(mine is actually on the slow end of Presto, at 160 BPM) Here is the piece as it is so far. Sound ends at about 1:25 in the MP3 just so you know. Does it sound stormy to you with all the octaves, 16th notes, and the Presto tempo?
  5. 1 point
    This song sounds amazing.
  6. 1 point
    Tomorrow is the longest day of the year on a Sunday in my country, at which time people burn a dummy witch per old tradition, and this afternoon, I just felt in the mood to finish this piano piece. I feel like it has a bit of summer in it. But I actually started on it back in April or so, then put it in the drawer, because I found something off-putting about it. I hope it sounds reasonable now.
  7. 1 point
    I feel a happy emotion to this, even when the minor keys are exposed. But not just any happiness. It feels kind of like a person is skipping around. I love it. And the C major is so expressive here. I have tried to get my C major to sound expressive and all I get is what sounds like happy boredom, sort of like this piece here: If I want the piece to both be expressive and have C as the tonic note, I usually resort to 1 thing, using the key of C minor. I find that with C minor, I can get just about any possible emotion across relatively easily like this: Anger - Just use more forte dynamics and diminished 7ths, faster tempo further reinforces the emotion but isn't necessary Sadness - Keep it slow Mysteriousness - Slow and in low octaves Nocturnal peacefulness - Slow and in high octaves Happiness - Fast tempo and off beat notes(I find that, if I just displace a note by say an eighth from where I would typically put it, and I put more dynamic emphasis on weak beats, I can get C minor to sound happy)
  8. 1 point
  9. 1 point
    Woodwinds are pretty diverse and complex, so forgive me if this answer is too generalized. By themselves, woodwinds blended together create this lush, watery, woodsy sound that you don't get from the strings. Unfortunately, they're easily drowned out by the rest of the orchestra, so you have to choose your woodwind moments wisely. As you know, they're much more versatile than their wind cousins the brass, so woodwinds are great for playing those fast harmonies or countermelodies against the strings. However, what I like best about the woodwinds is their different voices! The flute is light and airy, the oboe resonant and mournful, the clarinet liquid and graceful, the bassoon (such a versatile instrument!) deep and chocolatey in its lower register, wispy and yearning in its upper register. If you were to take a melody and have it repeated by the different strings (violin, viola, cello, bass), your piece would be boring. But take that same melody and have it repeated by the different woodwinds, and each tells a different story! Concerning woodwinds cues, I feel your pain. My head doesn't naturally "hear" the woodwinds in its music, so when composing I have to pause every now and then and ask myself "Has every instrument been given a chance?" Some of the richest moments in my pieces have been when I did this and passed a lush melody on to the woodwind section! Like much of music, it's an art that gets better the more you do it. I hope this helps!
  10. 1 point
    Hello, i'm new on this forum. I would like to share my lastest composition. It's the first movement of my 2nd piano concerto, composed in A minor. What do you think of it ?
  11. 1 point
    Hi all! I'm new here, and I really wish I'd discovered this community much sooner! I love classical music but, as a violist, my largest complaint has been the lack of stirring, cinematic viola concerti. Well, what's a composer to do? So here's my stab at a full-length viola concerto. I've named it Yfirsést (pronounced ih-ver-syest), the Icelandic word for "overlooked," and an all-too common feeling among violists. This is the first movement, and it resounds with the struggle of overcoming mediocrity and being seen for what you are. (I couldn't tell you what composer it sounds like, because to me, it sounds like me. 🙂) I appreciate your feedback, and especially taking the time to listen! I'll upload the second and third movements (along with the scores for all 3) later.
  12. 1 point
    I like the crescendos, the intro melody along with the sus vib notes from the cellos sounds epic. Definitely has a classical feel to it around the 2 min marker.
  13. 1 point
    @SilverWolf Thanks for the feedback! Here is the second movement, entitled 'Andante religioso.' It's mournful and redemptive, with hymn-like themes and swelling anthems. At times tender, at times dissonant, it continues the struggle to not be "overlooked."
  14. 1 point
    I like that it has a lot of varied articulations in it, a few of the chords I would have done differently (not sure of the name but it sounds like stacked m chords).
  15. 1 point
    On the joy of coffee, the composer's best friend. This is for a small jazz band of piano, bass, drums, violin, clarinet, trumpet and trombone. I may have posted this before but I don't remember and I don't see it anywhere, so ... here it is. 😊
  16. 1 point
    I totally agree with you on the coffee.. I love to have a cup and work on music.. Oh yes..... the music..... Nice piece, clear smart arranging. I like the piece a lot - my only criticism is I would like to hear the drums a bit louder, horns EQ'd a tiny bit (shelve low end). A very old trick, is to listen your piece, and very gradually at a consistant speed lower the volume.Notice which instruments drop out first, and how long it takes each instrument to drop out. Go back, and adjust volumes (very gently).. You are never going to get them all to fade out together. Make mixes of each, then decide which works best. Great piece and arrangement
  17. 1 point
    My arrangement of the traditional Irish tune. Hope you like it!
  18. 1 point
    Hello, This is my brand new track, "Time Travel". What do you think?
  19. 1 point
    It sounds like you have some really good divisi sections in the strings that sounds really cool. I'm trying to get creative with East West Symphonic Orchestra due to some limited features. I know it's possible, but trying to figure out which amount of divisi to create, that's where it gets technical.
  20. 1 point
    I usually use Kontakt libaries, like: * Cinematic Studio Strings * Orchestral Tools - Berlin Woorwinds * Cinesamples - Cinebrass pro és core * Spitfire Audio - Percussion Redux * Native Instruments - Action Strikes * Audio Impreia stuffs * Cinesamples - Voxos
  21. 1 point
    What libraries do you use?
  22. 1 point
    First post here. Here's a piece I recently wrapped up. (Mod's, if this is the wrong sub please feel free to move)
  23. 1 point
    Not sure of the best forum to post to, so I figured I give this one a try. I’m an amateur and this is my first attempt at making any kind of composition. I envision this maybe becoming an instrumental piece eventually, only right now I’m trying to start out with a piano arrangement. I’m making the song using Apple’s GarageBand. I would appreciate any constructive feedback people are willing to give.
  24. 1 point
    Could be a pop song of some sort. Try and define what exactly you were trying to do, then ask yourself- should it really be as repetitive? Can I change something? The harmony? Maybe the rhythm? Should I develop my motive further? Should I add a counter motive? Maybe I should simply try and compose something new just to keep composing? My first piece was... awkwardly repetitive ... looked something like that: because I just thought like "isn't this rhythmic idea cool" and basically kept it exactly the same during the entire piece (I think it's about 3 minutes long). Of course, it could be used for something. a repetitive pattern can contribute a lot to a piece's texture (https://youtu.be/APIKVLw1tT0). Yet, you might want to give a further thought to your piece, try some new grounds. The worst thing that could happen really is that you'll hear how it sounds, would not think it's as good, and then try something else or go back to your familiar ground.
  25. 1 point
    Hi! I would like yo show you a new video. In this case it's quite experimental. I would love yo know what you think about It! Thank you so much. https://youtu.be/M6PcAxbFIFU
  26. 1 point
    I just wrote a simple guitar riff and I thought it would be nice if I just put it over some videos I recorded from the forest and lake in my neighborhood. So, I made a complete dark ambient song and made this music video for that.
  27. 1 point
    I recently completed a flute concerto that will be premiering in the fall. A few things I can share off the top of my head: I think it's unwise to write the piano part and orchestral part as two separate entities/two separate sessions. One thing I learned while writing was that you need to give the soloist time to breathe. Both in the literal sense, and also from the standpoint of the audience. The ear tires from listening to the same type of sound after awhile, so the best way to keep the ear interested is to change up the sound. When you listen to great concertos (of any instrument), there will be sections heavy on the solist, sections where the soloist and orchestra play together as a "unit", and then purely orchestral sections. Those breaks are important, for everyone involved. Write to the strengths of your soloist. If it's you, then write to your own strengths! My solist has a very good technical capacity, and also has a very strong tone in the lower register, so I was sure to make it technically challenging and wasn't afraid to write some passages down low. Some people are better at shaping long musical phrases, some are better at extended techniques, it's good to sort of "tailor" the music to what they're good at. If you personally aren't the soloist, don't be afraid to consult them during the process. Maybe some things are too challenging for them, or maybe they have suggestions on how to make something flow better. You'll learn a lot along the way! Speaking of register, another reason I don't think it's wise to write the piano and orchestra parts separately is precisely because of orchestration. You want to leave space in the orchestra to let the soloist shine through. In my case, this meant not having a lot of flute parts (as in the ones sitting in the orchestra), and generally avoiding countermelodies/accompanying figures in the same register as the solo. In your case, you have the entire piano at your fingers, which is both a pro and a con. The pro being it's a lot more flexible in terms of register, the con being you can easily go crazy and write thick passages that will come out muddy if the whole orchestra is playing something too contrary. I think writing them separately would be too confusing, you might think while writing the piano part "oh, I should do this in the orchestra", but most likely forget it by the time you get to writing the orchestra. These are all of course tip more on technical things and less about the actual act of writing music. As the others said, try everything and see what sticks. Don't overthink things, and of course have fun with it!
  28. 1 point
    ...or something like that. Fantasy game music I wrote, anyway. Let me know what you think.
  29. 1 point
    The main piece of advice I can give you is to work out your form in advance, then come up with some ideas (they can be short) to fill each section. Learning how to develop well will help make you pieces longer.
  30. 1 point
    My fat fingers did the page refresh shortcut in the middle of composing my comment. So here we try again. But at least I got the B. That's pretty close, isn't it? Thanks! Oh, no no no, I don't know more about harps than you do if you're already trying to figure out pedals and stuff. My harp knowledge is on the level of Monty Python's How To Do It lesson on how to play the flute. As for the key, I probably gave more thought to my pairing of socks this morning than I did to the key of this thing, and I probably should have transposed the whole thing up to F if knew what I was doing, to get a whole lot of naturals. I'm no good at writing for real, actual instruments played by living, breathing humans. Thanks. You're totally right. This is but an unambitious little doodle that came out of some nerd'ing. I have modes popping up all the time in my music, but I rarely immerse myself completely in one sound. I think if the piece had a real length, it should definitely go beyond. So would you. However, the thing is... that I... kind of overwrote the project file, which I used for tinkering. It was an oversight. I know... I'm sorry. But I'm not feeling up for a transcription by ear now. With audio online, I guess it's now an undead piece. I tell myself that I can listen to the mp3 to extract ideas for the future. Oops, I forgot the #4. Oops, I wrote in a bad key. Oops, I deleted my comment. Oops, I deleted my piece. I'm on a streak! I better block my bedroom door tonight.
  31. 1 point
    LA Scoring Strings and EWQL Hollywood Strings are essentially the same. However, EWQLHS takes up about 5 times the RAM (if not even more) in a single patch than LASS does, while the quality is preserved. So it's all in terms of what type of computer you have before you buy either of them; if you have a 4-6gb RAM computer, go with LASS, if you have a 24-48gb RAM computer, go with EW. (personally i'd go with EWQL if i had a better pc.)
  32. 1 point
    Looks like it's time to play the clarification game! :D Each of these products is a sound library, and they each happen to use a different playback engine. Kontakt, PLAY, and ARIA are sampling/playback engines. Garritan, until recently, was a Kontakt product but has now switched to its proprietary ARIA player. ARIA can only service Garritan products and is unable to load, interpret, or otherwise interact with other developers' libraries. What you're loading when you're using these libraries in your sequencer is the sampling plugin (generally in VST or AU format, depending on whether you're on Mac or PC and on what sequencer you're using). The sound libraries themselves are then loaded within that plugin for use. Kontakt is the industry standard sampling engine and is extremely powerful, flexible, and efficient. It also has a "lite" version called Kontakt Player which is free and will allow you to use certain Kontakt libraries without needing the full version of Kontakt (which is around $400). This free version can be had independently from the Native Instruments website or it comes bundled with all the libraries that use it. The caveat is that not all Kontakt libraries can be opened in the Player — only those that have been licensed by Native Instruments (the company that makes Kontakt). In the case of LASS, they're independent and do not have a license with NI and so you can only work with LASS in the full version of Kontakt. In other words, if you want to use LASS, you need the full version of Kontakt. PLAY, on the other hand, is another fairly fresh beast. All of EastWest's libraries used to be Kontakt-based but they were unhappy with the platform for various reasons (actually mostly just piracy) and decided to develop their own player that would resolve this and be customizable for their libraries. PLAY emerged as a buggy and under-achieving baby that gained the company no love whatsoever in its fledgling state. Now, several significant updates later, it's at least stable and performs as advertised, though it remains inferior to Kontakt in its sample handling and efficiency. But that's a different story. The point is that PLAY is the proprietary sampling engine that runs all of EWQL's libraries now, and you need it to use any of them, period. PLAY comes with some fun extra requirements, most notably the iLok security dongle. Basically it's a USB key that handles licensing of the libraries — you need it plugged into your computer at all times while you're using PLAY to be able to access the samples. In the end, PLAY has a very attractive interface (which makes it seem easy to use) but is functionally stunted, providing only the most basic functionality of Kontakt...and less efficiently at that. Hollywood Strings, therefore, runs on PLAY. So it's a necessary evil if you're going that route. However, it's important to note that all concerns of interface, efficiency, and engine preference aside, you need a POWERFUL computer to run either LASS or Hollywood Strings and running them from a notation program is akin to using a sophisticated oven to toast your bread in the morning — it's possible, but you're wasting HUGE amounts of potential, the product isn't designed to be used that way, and you're missing out on precise MIDI control control that a sequencer affords you...which is what's required to make either of these two sound good. Of the two of them, Hollywood Strings is the more heavy on your machine. To give you some perspective, when LASS was first released, it was strongly recommended you have a second computer to run it. This turned out to be unnecessary, but you'll still need a lot of RAM, and several fast harddrives to optimize performance if you use it on one machine. The same is true of Hollywood Strings, except in its case the second computer option is still favourable. The folks that have been running it on one machine have generally resorted to splitting it across 4 internal harddrives, usually SSDs (Solid State Drives, like flash memory in USB keys, as opposed to your typical disk drives that have spinning disks for storing information — SSDs are exponentially faster, performance-wise). Even with this setup and a good 16GB of RAM (which is considered the minimum required to make use of HS in any meaningful way), they can't have much else loaded or their system simply can't handle it if they're using the full patches. That being said, HS offers some "lite" patches for weaker machines and you can get away with splitting it across a few hard disk drives instead, but the point is that if you're not packing a powerful machine, you'll spend more time freezing and bouncing than writing. In the end, if you don't know what I mean by that, you really shouldn't be buying Hollywood Strings because you won't know how to use it properly. To Dominus Vobiscum's point, sequencing using these powerful libraries is a separate and entirely different skill from writing good music. For those who have the luxury of frequent access to live musicians, it may well not be a skill worth learning. But for those of us for whom the final product is the recording, and we don't get to work with live musicians 90% of the time, it's crucial. It is a huge technical challenge though, and it's a skill that you keep perfecting as you go. Ok, so for the TL;DR crowd: LASS and Hollywood Strings are professional products intended for use within a sequencer. They require a good deal of skill to wield effectively, much more so than Garritan Personal Orchestra, and using them within a notation program is laughable at best. Each comes with its own difficulties: LASS requires the full version of Kontakt which will set you back a further few hundred (though it opens up a VAST world of sample libraries of truly excellent calibre, LASS being one of many); Hollywood Strings requires you to use PLAY, which in turn requires you buy and put up with the finicky iLok dongle. Both also require powerful machines to run them. If you are working within a MIDI sequencer and have a powerful machine, which you get depends more on your preference of engine and recording style than anything else. HS is expertly recorded and engineered and can give you a fantastic Hollywood sound out of the box, but it's not really designed for anything else and you'll have trouble getting it to sound smaller. LASS is perhaps a bit more flexible since you get access to all divisi sections plus the first chair separately, but its tuning can be a bit unstable and it takes some work to get it sounding cinematic. HS has more articulations, but LASS is easier on your system. HS has switchable finger positions, but LASS has amazing scripting and an upcoming EQ-matching feature that's going to be extraordinary. And so on. Listen, think, and buy accordingly! :thumbsup:
  33. 1 point
    Play=easy to use, and I think hollywood strings would be a better choice, but that's just my opinion ;).
  34. 1 point
    well the official range for trombone is tenor- 2nd E below middle c to 1st Bb above middle c but almost all players can easily play as low as the 3rd Bb or Ab below middle c to about the 2nd D above middle c. nowadays trombonists are concetrating alot on range expantion so some can even hit the 2nd F or G above middle C. modern bass trombone is pretty much the same but the in between pedals and normal range range sounds better and most players can go down to as low as 3rd G below middle C. trumpet in Bb ( to me ) only goes as low as the 1st E below middle C ( concert pitch) but today most pros can go as high as the 3rd E above. which tuba do you wanna know about? :P no offence but horn, if you have played it, can have a very wide solid range in my opinion. definitly 3 and a half octaves. :shifty: and today most trombone players play soprano, alto and contrabass as well ( the've become common once again) do you want there ranges as well? :wacko: P.S. I live in a third world country where all brass players have day job and only have 3 max 5 hours to pratise and still they have these kinds of ranges so Brass players in the rest of the wrold derinitly have these kind of ranges. hope this helps... Janca
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