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Showing content with the highest reputation since 01/12/2020 in all areas

  1. 2 points
    Well spoken! It is really useless to continue this discussion. And I wish Donethur all the best with his composing. Your suggestion about discussing predicability and musicality is definitely worthwhile. These are extremely complex issues, but very interesting!
  2. 2 points
    To be able to critically validate your own work is probably one of the most important (and difficult) things for a composer to learn. And in this context, it is important to be able to validate and learn from negative comments. A lot of people seem to be only looking for praise, which is a kind of self-deception. A good rule is: Take your work seriously but don´t take yourself seriously.
  3. 2 points
    Well, this is the recomposed version of a "minuet attempt" that I composed some time ago, I recomposed it just today. I recomposed it because the bass was very simple (just octaves in half notes), and it didnt have the form of a minuet. at least now it haves the form I include an harmonic analysis (very roughly) Almost all the minuet is based on the motive of the image The trio isn't finished, I will add it later Any comments are apreciated :3.
  4. 1 point
    Hello all, Here is the first movement of my Fantasy in D Minor, scored for pairs of Oboes, Clarinets, Horns and Bassoons. It is written in sonata form, and I tried to share the material between the different instruments. It took me a long time to write - I hope you enjoy it!I - Lento.mp3
  5. 1 point
    I want to get away from large, continuous blocks of sound. This piece may be their last stand before I change lol.
  6. 1 point
    So, I have finished my first minuet and trio for solo piano. Hope you like it :3. I added an harmonic analysis (very roughly). Any comments are apreciated :3. Almost all the minuet is based on this motive.
  7. 1 point
    Hello. I really enjoyed this. I'll comment on some things in the first section, which apply to this pieces and others. I like the harmonic transition from Emaj in Bar 2 to Dmaj in Bar 3. However, moving back to Emaj in Bar 4 doesn't work as well in my opinion. I think a different transition back to Amin would work a little better. Perhaps a sequence of D-Dm-Am? Bar 5-6: The number of harmonic voices changes often in these bars. It could sound slightly unstable in a performance, due to lack of cohesiveness. Bar 16: A tiny comment, but make sure you have the correct number of rests in each voice. Good job! You have evidently put a lot of thought into this piece, yet it still flows naturally.
  8. 1 point
    Hello Tortualex I really enjoyed this piece. The rhythm is rather unusual, and fits perfectly well with your motif and its variations. I recall that I have heard this rhythm before (but no idea when and where). Somehow, I got an association of early music (pre-baroque or renaissance, I don´t know). But it is certainly compelling. A-minor (and A-major in the trio) is just the perfect key. The modulations are fine and I also experience some drama in some of the phrasings. Occasionally, some of the harmonic transitions (like in ms 8 or 16) felt a bit odd. I would have used a more common practice half-cadenza transition. I would also have sculpted the dynamics a bit different. And here and there, the melody is a bit jumpy. But…. that´s just my personal opinion. Otherwise, I think that the piece is coherently structured, including the nice recurring to the original motif. There is only one more thing: I think that this piece is a wonderful platform for further development. To me, it is just begging for an additional set of free-standing variations. Thanks for uploading this piece. It is a source of inspiration for me.
  9. 1 point
    Nice pathway until what I consider a first climax from m. 29 with that canonic or fugatto part, which is enriched with chromatic lines from m. 41. The last part is also very beautiful with a theme with some ethnic flavor (for me, sorry)
  10. 1 point
  11. 1 point
    You mean this? https://www.youtube.com/watch?v=qI6jZ8muDtU Maybe is because of the triplet motive.
  12. 1 point
    For a first attempt, this is good. My first attempt at a minuet was way worse than this(So bad that I never got past the A section). At first the Trio seems to only be harmonically based on the minuet section, but then the minuet motive starts appearing until it becomes more prominent than the legato eighths. Your modulations are really smooth here. C3 though, is that some sort of inversion marking, equivalent to saying C7 in third inversion or what? I'm more used to the figured bass way of marking inversions, you know, this: First inversion tonic triad - I6 Second inversion dominant seventh - V43 and so on And I love how you end your minuet with the dotted rhythm part of the motive in octaves in the deep bass. Overall, I would say that this is a good minuet that you composed here.
  13. 1 point
    I love the name and agree with Luis... the resilience of the motif over the harmonic tension is beautiful.
  14. 1 point
    I enjoyed this a lot. The range of ideas kept it very interesting throughout. I was a bit surprised at the start when after the intro it went to Eb major rather than G major/minor, but that's not a bad thing. Not much else I can say really, its lovely.
  15. 1 point
    Nice how the motif overrides several harmonic changes with different tensions.
  16. 1 point
    Many classic forms were adapted in the 20th century. New ones were invented. Messiaen's musical world is amazing. Check what intervals are the best for him to build a cadence! Regarding the sonata, he says: "having written some absolutely regular sonata-allegros, we shall state that one thing in that form has become obsolete: the recapitulation. Then we shall try once more to keep what is most essential: the development. there are two in a sonata-allegro: the middle, modulating development; the terminal development, generally built over understood dominant and tonic pedals. We shall be able to write pieces made of this terminal development alone". And he gives this example from les Enfants de Dieu (from la Nativité du Seigneur): First element over a dominant pedal in B major and development A great fortissimo cry upon a sort of schema with augmentation of the theme A tender phrase, forming the conclusion, established over a tonic pedal in B major. You can hear this part here: In his writings, he gives additional examples of this kind of technique and new "free forms proceeding from the development of the sonata-allegro". Some thoughts about all this: Having in mind that tonality in Messiaen cannot be understood in strictly classic ways, he uses a contemporary technique (as Debussy did) to establish tonal centers and a relationship between them: the pedal tone. It's interesting how Messiaen is not interested at all in parts without development, ruling out at first glance the recapitulation ("obsolete") because it has no modulation nor development. It's also interesting how he takes only a section (or better said, the concept of a section) of the sonata-allegro, to build up his own coherent form. In my opinion, this is related to the big idea in Messiaen of "progressive music": non retrogradable rhythms or added values, non transposable modes... All of them have to be with that idea on not allowing the music to fall in the repetition patterns where classic music had rely on. This is just an example of what Messiaen did with forms. He talks about fugue, an other forms he was interested in, some of them fresh and new (Bird son), some old (plainchant). Is this concept interesting for you? For me, it is. It opens more possibilities of organising music material.
  17. 1 point
    Sometimes inspiration comes from different places: a car passing by in front of you, leaves rustling in the wind, the username of a member of an online forum, or simply... it just is. My first sonata was inspired by one of these three things. Ironically, as long as I've been composing, this is my first... complete (well, somewhat, I'll probably renovate some of the movements later) piano sonata. I. Allegretto Grazioso: The entire sonata rests on the motif found in the bass. 5 simple notes. The motif in this movement is treated to development in a type of hybridized sonata form. II. Adagio Sostenuto: This is one of the movements that I'll probably strengthen later. The form is basic ABA'. I wanted the A section to have a solemn quality to it. Resignation. The middle section introduces some new material -but again is heavily resting on the 5 note motif found in the first movement. III. Presto - Andante con moto: The five note motif becomes the basis of the scalar material utilized in the first half of this movement. Despite being a tad basic, it provided some interesting sonorities -particularly with the infusion of chromaticism. The second half of this movement features snapshots of material utilized in the previous two movements (for the sake of maintaining cohesion throughout the piece). All in all, I'm fairly satisfied with this work. I'll most likely update the second movement -and the second half of the third. Hope you all enjoy!
  18. 1 point
    Yeah I'd go so far to say most if not all the transitions suffer in some way. Just changing things suddenly definitely has a place! The famous transition to Section 6 of Reich's "Music for 18 Musicians" is a good example, but if you hear in Section 5, that process is already happening subtly in the background. Let your transitions breathe a bit.
  19. 1 point
    At least he didn't just burn all of his works except like 17 he thought weren't bad, or something. French huh, am i rite?
  20. 1 point
    I think that there's room to use the concepts, like I said before. If your material fits the old models, then sure that's not the issue, but if you're working with more modern stuff it can be an interesting to reexamine how those things can fit within more vague definitions of "development," or "reprise." Debussy's Sonatas, which he sadly didn't manage to finish, are a great example of how he dealt with the idea. Mind you, his forward thinking probably also inspired Messiaen a great deal, among other composers of the more neo-classical variety.
  21. 1 point
    Very nice fugue! I did notice some parallel fifths and octaves, but I don't know if that was intentional or not. I don't think it's repetitive, and I like the harmonic and melodic complexity of the piece. Overall, very well done!
  22. 1 point
    Hi Gustav, Thanks so much for the feedback. I will definitely continue trying to make music : ) And, will look into some drums/percussion and experiment a little. I did shoot the video of the candles. My fingers were almost frozen in the process 🥶😂 All the best, Felix
  23. 1 point
    I normally don't visit this section of the forum. The title is what really drew me in. I'm very sorry to hear about what you're going through! I can't offer or say anything that would help you, but I can tell you how much I enjoyed hearing your music just now. Your feelings came through very strongly, and I'm hoping for the best for you! Please take care and keep composing if you can!
  24. 1 point
    Hi Muhammadreza: The song is beautiful and sad. It certainly reflects your message. I might like this the best of all your posts here. I too have battled depression/anxiety for decades. I take psych meds, and counseling. I'll go for a while, feeing neutral, or even good. Then I might really fall deep into an emotional hole. A lot of people don't realize MENTAL HEALTHis a real issue. Your brain is an organ in your body, and it can go from states of health, strength, depression, or weakness. And some people mental health is something that should not be talked about. There are various ways to deal with depression. There are coping strategies you can learn to use.. Like you did here, I sometimes use music to express an emotion I'm feeling. The process of creating a piece, helps you process your feelings too.. You are in my thoughts
  25. 1 point
    Cool piece! I wasn't expecting the cello solo! If you had shown me this piece and asked me to guess the title, I don't know if Cloudy Dreams would have come to mind, but I think it definitely fits. I also enjoyed the sound effects throughout. Thanks for sharing!
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