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Showing content with the highest reputation since 03/26/2020 in all areas

  1. 2 points
    Hey Youngcomposers! Been a part of this community for years, and I'm so glad to see it's still growing! I wrote just a little adventure piece with some Celtic influences. I hope you enjoy it! I had a ton of fun writing it. Edit: I also threw this piece with some other ones on spotify. Feel free to take a listen! https://open.spotify.com/album/5I1tcYvpdeea9p3MQ5nrOQ?si=juYyyaajQVKWafkLuKM21Q
  2. 2 points
    yes but so far it's @jawoodruff , @Moueen Issa , @TheCluelessClariney , you and I, But i think we will wait 2 days for everyone who wants to join to join.
  3. 1 point
    Wrote a short piece in B minor, this time the theme wasn't from improvising. I just wrote this completely on the computer. Hopefully I didn't subconsciously use something from an existing piece...
  4. 1 point
    @Left Unexplained That's a part I quite associate with you 🙂
  5. 1 point
    Such organizations exist in America, and everywhere else as well. Signing away rights is one thing composers should absolutely avoid unless you are offering a very large sum of money. Which, if you seek to avoid paying royalties, I suspect you aren't offering. The deal that you should look to strike for indie games is that the music the composer makes is licensed to you for use in the game, but not exclusively. You pay them a fee per track to use in the game, but the composer retains 100% ownership and can re-use the tunes elsewhere; perhaps in music libraries that will generate royalties. Composers should also seek to do that with their back catalog as well. You get a soundtrack for your game; they have insurance and longevity. Any other type of deal on an indie project is, frankly, getting screwed. You could be signing away rights to music for a game that never gets released and the music composed is unable to serve you much purpose and cannot generate any income; a totally wasted effort. Or, it does get released, explodes in popularity and the composer makes nothing beyond their initial payment while you guys bathe in money.
  6. 1 point
    Hello, this is a piece for piano and voice (I use clarinet instead here). The text is shown in the pdf 🙂 I'd be happy to know what you think.
  7. 1 point
    I edited it just now to include the topic.
  8. 1 point
    Here is my piece for the Secret Santa event. I finished it. And very quickly too. EDIT: @Left Unexplained said that I had to include the topic that I got as well as my piece, so here is the topic I got:
  9. 1 point
    Envelope symbol to the left of your username. Top right corner of the screen.
  10. 1 point
    It has been a blank period for my composing during both past half months, but finally I could get again into composing and finished today this fugue in F-sharp minor (which by the way seems to be my favorite key now). It's my first one in which the subject and countersubject are in actual invertible counterpoint (at least, I think) with me deliberately intending so. Hope it gets to be relatively decent. Also, in case anyone reading this would like to help me a little, I have recently downloaded harpsichord-exclusive soundfont and would need some advice discerning among this new one and the previous one I already had, in terms of which one is more accurate to the sound of the harpsichord. So I have provided another MP3 file of this fugue with the "New Soundfont" tag to contrast, for you to leave your opinion in regards to which one sounds better. Thanks in advance!
  11. 1 point
    All have already received their respective topics, and the event has officially started!
  12. 1 point
    Nicely done! I have some food for thought as you continue to broaden your 'large ensemble' tool belt. 1. You have a knack for nice melodic ideas and there are some nice melodies throughout, however there should be more development of those ideas. In other words, give us a melody that will build and means something significant that you can reference later in the piece, for example. Speaking of which, I think there's more potential more that 3-note motif in measure 90. That can definitely become a signature motif that you can start exploiting near the beginning of the piece (and eventually shows up at the end, as it is); also explore more harmonic ideas that can further enhance your writing. For that motif, maybe experiment with contrary motion (harmonies go in opposite directions) to provide some added interest instead of an orchestral unison. 2. The strings acted like a good 'padding' for the piece and provided the main harmonic accompaniment for the piece; however, that seemed like their only purpose. I felt as if it was the strings vs. the woodwinds (and french horn). You can give the woodwinds some chordal structures and accompaniment as well, especially if this to be played by real performers. The strings could also take some melodic ideas too! Based on the instrumentation, the bassoon can provide a rich, low end (not that its are particularly loud) that you can use to your advantage to increase the orchestral 'flavor'. The clarinets also have a resonant low-end that you can use to fill that tenor range, and maybe have the clarinets divisi (one plays low, the other high in order to rise above the texture). The oboes and flutes can also provide interesting textures too, instead of playing intermittent soloistic melodies. All-in-all, incorporate the woodwinds and strings together instead of woodwinds accompanied by strings. 3. Finally, be aware of how the different instruments mix together. For a majority of the piece, the strings are written at piano and the woodwinds play at forte. In real life, those woodwind players would play at a dynamic level that would distort the sweet-sounding melodies you had in mind, since the quiet woodwinds are trying to rise above the entire string section. You can go about this in a few ways: one, double the melody on more than one instrument and maybe experiment with octaves here. You don't wanna overdo it, just an idea. Also, take some time to research the ranges of each instrument and how they sound in those ranges. If you want a solo flute (well, most instruments in that matter) to stand above the orchestral texture, make sure to write it in its higher register. But be careful not to go crazy here, as some instruments don't usually go as high as MuseScore or Sibelius say they can without screeching. Speaking of ranges, you did pretty well in the woodwind section, but keeping in mind that flutes are one the quietest acoustic instrument in their low register (maybe C5 and below?); you can give that lower melody to the oboe or clarinet. The oboe range was pretty reasonable, but be careful not to write it too high (same with clarients); they are not flutes. The high 'E' in measure 53 is out of the range of most players (except flute), especially at the end of a piece. I don't know how deliberate and intentional your instrumentation decisions were, however the lack of a full brass section certainly changes the textures you could be missing out on, but that is purely subjective. Final note, this is a non-transposing score, which is fine. However, make sure to give your players their transposed part if they are a transposing instrument (i.e. Clarinets, and French Horn). Great job and keep writing!
  13. 1 point
    Hey, Well, I've been working for 2 years in a very heavy project for Choir and Orchestra, but is not ready yet 😋 so, I've been locked in my house due to the quarantine, just walking and sitting, and walk again and sit again, I haven't had much luck in my other work these past days, so yesterday just open an new file, and wrote a theme I found in piano that morning. This is the smallest orchestra I've used, also the shortest orchestral piece I own, it was only to kill the time you know... I must say is relaxing to write "normal music" from time to time, you don't have to be struggling with "thing nobody has written before".
  14. 1 point
  15. 1 point
    These preludes sound great! I really like the contrast in character between the preludes. I think im liking No. 2 the best.I really like the character of No 4 as well! What other ideas do you plan for the other preludes? I would love to hear what you come up with!
  16. 1 point
    Nice! Very Chopin-like. Im liking the harmonies that you are using. I think that going into a chorale like thing after that would be cool, and have a nice contrast with the arpeggiated figures that starts it off
  17. 1 point
    People, please send the ideas to me. The idea is that people don’t know what options there are, nor what they are getting.
  18. 1 point
    I'd say moday at noon, eastern standard time. It should be enough so that people can decide if they are going to participate. After people recieve their texts we can then decide the second deadline, because each one will have an idea of how much time will it take to complete whatever they have in mind. Also, it'd be important for everyone who is going to participate to follow this topic, so that everyone gets notified of any change or announcement.
  19. 1 point
    I might recommend a deadline, so we're not blindsided by an extra person joining in at the last minute... but maybe that's my competition moderation mindset coming back 🙂
  20. 1 point
    I think it would be neat to have it done privately, but I'm OK with whatever. How detailed should the topic we send be?
  21. 1 point
  22. 1 point
    When listening parts of it felt as if they were in 3/4 meter, the notation is all in 4/4. I love the contrast between the forte and piano sections! It reminds me of Debussy for some odd reason, not sure why. Welcome to the forum! Gustav
  23. 1 point
  24. 1 point
    @Quinn @Ken320 So I am downloading High Sierra for my MAC now. Let's see how all these wonderful plugins work!!!!
  25. 1 point
    Agreed. Take a look at the Bach Partitas and his Cello Suites to get some ideas of writing for unaccompanied instruments.
  26. 1 point
    I think the end would be better if there was a stronger V-i feel(or V7-I). Other than that I can't really give you an analysis of the counterpoint, I'm no master.
  27. 1 point
    Hi, my name is Ali Afifi. I’m new the the Young Composers Forum, and I decided to share some of my compositions with you all to hear your feedback on them, and suggestions on what I should improve and what I should keep the same. One of my compositions I would love to hear your opinion on is my Sonata for piano in D major, posted on MuseScore (https://musescore.com/user/4035251/scores/5675232). It is currently my best finished work of music, but keep in mind this is seven months ago, and I have somewhat improved in composing music. Yet like I said, this is my best finished piece so far, so I would like to hear your opinion on it. Thank you. 🙂
  28. 0 points
    Bağlantınız koptu :C . Diyor ki: sayfa bulunamadı. Umarım anlaşılır, türkçe konuşmuyorum öyleyse çevirmen kullan
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