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  1. I suppose this comes back to using instruments well - keys which take lots of instruments low into their range will sound heavy and muddy. Sometimes the only option is to transpose it, but this might affect another instrument! That's why, when writing for a group of instruments, you need to be thinking about their ranges from the start to make sure that your piece will fit nicely under them. In my workshop experience, I try to write idiomatically for the instruments, in keys that will suit them, and this has been picked up on a few times.
    2 points
  2. Piano piece I made a little bit ago. Nothing fancy. Let me know your thoughts!
    2 points
  3. Just trying to make this Swedish folk song into a boss fight for my Nordic dnd campaign, any reviews as to how to continue this one are welcome :)
    1 point
  4. May I humbly invite you to give a little listen to Prelude in D for solo piano. Composed some years ago but recently recorded. Inspired by Bach. Guaranteed to soothe your spirits! Many thanks!
    1 point
  5. This is beautiful. I love the way 2:36 and onward sounds. You seem really knowledgeable, I have written some hymns myself,and I'd like to have them transcribed in a SATB Bach chorales format. Maybe you can help?
    1 point
  6. this is a piano arrangement of a Christian hymn written by me, hope you like it the video: https://www.bilibili.com/video/BV1Ya4y1p7zh/
    1 point
  7. Thanks for feedback @PaperComposer 🙂 About the rendering I agree with you : hinted at it in my introductory comment. I'm aware of this "show the soloist's skills" vocation of many concertos. Thought about it while writing, but it's not the way my inspirational flow came out. About the melancholic mood, beware of the upcoming adagio, which I already started and will go deeper into that way, though, while I won't give another term, this word "melancholic" sounds to me a little bit too pessimistic 😉 Bon appétit, since it's lunch time in California 🙂
    1 point
  8. A nice intense atmosphere and interesting harmonies. But surely it's just an intro to something? It naturally wants to lead on from the closing bars. What happens next, I wonder, and I can't wait to find out! Great stuff.
    1 point
  9. I do hope that if this were performed a cellist would give your introductory cello melody more life than this rendering does (I don't know if you intended it to be played in strict tempo but it seems like it could use some rubato). Also I would be wary to give the cello double stops of a tritone in the range in which you did there in the introduction. I feel like the writing in general not just for the cello is a bit underwhelming in this and you maybe could have used some more virtuosic variations of you melodies (maybe using the technique of diminution to give the themes more energy and vi
    1 point
  10. Some very nice and bright pieces! The Allegro is quite sprightly and quick too! Although it ends a bit too much like some familiar Mozart piece that I can't quite put my finger on LoL.
    1 point
  11. This sounds really cool! I love the trombone drones in the beginning. I think the key change up a whole step is kind of a cheap way of buying your melodic ideas more time to be exposed to the listener. Usually that kind of modulation is used in the latter half of a pop song to create some much needed interest after hearing the verses and chorus a few too many times. Although you do create some variation after the halfway point by augmenting the folk song melody to longer note values. I like the mood this creates. I feel like the intensity was a little muted I felt like but maybe that was
    1 point
  12. I like this but I feel like you limit yourself to only harmonic and melodic variation. You could also change say .. the tempo or the register at which the individual instruments played. Correct me if I am wrong but it sounds like you write for the instruments in basically the middle of their range. Also maybe this piece didn't particularly need a tempo change anywhere but it's just an idea which could really make your music much more diverse even within the span of just one piece. Of course it's still quite atmospheric and heady. Thanks for sharing!
    1 point
  13. yes it's light green and the letters of the title are kind of sporadic
    1 point
  14. That might have been the book I randomly picked up in the bookstore I mentioned in the original post of this thread but don't quote me on that. Does it have a discussion of modes and cross-relations in it?
    1 point
  15. Thanks! btw concerning the lydian mode I've heard @gmm comment that even lydian can sound dark .. I guess it's all about how you use it. EDIT: Have you seen the modes organized by their supposed respective darkness or brightness? Lydian is supposedly the brightest mode on the scale.
    1 point
  16. interesting stuff. Your chromatic language is darker than mine, I can learn from this! Good job
    1 point
  17. It's been a strange year, hasn't it? What with the pandemic, nobody was singing my choral music, so I got some friends together online and organized my own performance! (Plus I had always wanted to write a Halloween choir piece, but choir directors were always like "nah, we'd rather spend October rehearsing Christmas music.") I wrote this fairly straightforward piece as sort of a proof of concept, and originally released it back in October. Honestly, I probably spent as much time (or more) mixing the audio as I did writing the music. Turns out it's difficult to get 17 singers--all singing
    1 point
  18. Oops! Sorry about that. I spotted the error in bar 10 - the high G#. Can't let that go without putting in right. (Hence it's always useful having a chance to practice input from a score!) Here, the corrected files: It's an accomplished work. Here's hoping you can have it performed live.
    1 point
  19. The title is very appropriate for this piece. I feel like it portrays the melting ice really well especially in the last decrescendo. The 3rds in the high register sound like dripping icicles. Sounds like music that would be perfect for an icy cave in some kind of RPG. Maybe some reverb would help that impression too though. Great job!
    1 point
  20. Yes, it creates quite special atmosphere.
    1 point
  21. Original Hymn I wrote and PaperComposer transcribed. Enjoy
    1 point
  22. This sounds like it fell out from another universe.
    1 point
  23. Here are my tries, following your dynamics and articulations as far as possible. The first is the 'naturale' version, the second the 'sul point' and the last is a cross-fade between the two 'a little nearer the bridge'. The tremolo (semiquaver) passage is very slightly exaggerated so the effect is clearer, but only very slightly. Let me know if there are any mistakes!
    1 point
  24. Okay, so today I was feeling pretty bad and for some reason I thought I needed to improvise something dark using the Dies Irae theme. I wanted to portray my feelings in the freest possible way but at the same time record it just in case something interesting would happen. This wasn't my first take, but I didn't do many tries either, so you can be sure that 97% of it is pure improvisation. Anyways, share your thoughts about this. I know it is pretty mediocre compared with good improvisations, but I'm still an amateur and I don't have tools that would be helpful like perfe
    1 point
  25. Hello everyone! I just finished a canon at the octave for three voices which I composed for practicing counterpoint. I did it for practicing three part counterpoint without having to spend to much time thinking about the melodic contourn for each voice. As an exercise it was really interesting and fun to compose. I composed it without instruments in mind, I just chose the brass trio because it sounded the most beautiful to my ears. Therefore, I am not sure whether some things might be unplayable (specially the highest notes from the trumpet). The canon is strict for the whole piece e
    1 point
  26. No need. I have a quartet template and can input through this midi keyboard from your score. Let's give it a go anyway and if I mess it up I may have to come back cap in hand for an xml. I'll do up to about bar 17 so there's a lead in if that's ok. Give us a day? Cheers.
    1 point
  27. So what made you change this from a wind trio to a brass trio? As far as I am aware it seems like there was no problem with playability in the woodwind trio version but in this version the trumpet has to play up to a high F# above high C which is ridiculously high! (assuming that a Bb Trumpet will play the part which is more likely than finding someone with an actual C Trumpet) I played trumpet before and getting my chops up to the point where I would be able to play just a regular high C took quite some time so you're asking quite a lot of the performer to be able to play those notes. The
    1 point
  28. I do not know enough about the theme and variation style for giving any constructive criticism, but I enjoyed the piece a lot! Specially the second variation. I also loved the pizzicato parts! Good job! 🙂
    1 point
  29. Hi everyone, For those who don't know me my name is Camille, I'm French and I'm 17 years old. I'm familiar with classical music and orchestral litterature and I often compose for piano and orchestra. These last 3 months I composed a piano concerto in C minor. This is my big project of the moment and also the one that took me most time to compose. I create this topic to share the first movement of this piano concerto. It lasts about 17 minutes and follow a strict sonata form. I took the habit to compose a piano concerto per year and this is what I consider my most accomplished piece so
    1 point
  30. I liked this! The beginning sounded a bit familiar. i actually liked the dissonances.
    1 point
  31. Sort of ambient I guess. 99% harmonics. Oh yeah, it also sounds like it’s underwater.
    1 point
  32. This is an arrangement of Pure Imagination from Willy Wonka and the Chocolate Factory. It’s in 5/4 (besides the weird little interlude in e minor) There’s some mistakes in the recording, and I haven’t actually written most of this down yet. So a portion of this is just half-improvisation from memory. This isn’t the finished product
    1 point
  33. I liked it . It was really great. Loved the spirit of the water
    1 point
  34. @YakoB Look- really, I'm not sure what you tried to achieve with the piece. To me it just screams "cliche!" which is... fine in some cases I guess. I'd try to get farther away from basic left hand patterns, all those useless octaves etc. Try to organize your melodic material better in a way that it doesn't sound like an improvisation (you know, the patterns etc.) The fact you haven't mentioned anything about what exactly it is you tried to achieve doesn't make it easier to try and guess. To me it sounds like what you'd get if you googled "emotional piano pieces" o
    1 point
  35. Hi! I was active on this forum a while back, but never in the piano music section. And I want to share this piano piece with you, just in case people have suggestions! Although I have a master's degree in composition and some success writing choral music, I've always been hesitant about writing solo piano music. So (somehow) this is my first solo piano piece (not including a couple silly ones I wrote many years ago, as a kid). My goal was to make something that sounds flashy but isn't too hard to play. So it's mostly just fast arpeggios without sudden changes of hand posi
    1 point
  36. i don’t really know what to say, besides that it was really good
    1 point
  37. If I had any comment at all it was the length of the pauses between variations that at times seemed just too long. The one at letter III seemed about right. I get the feel of what you say about repetitive but it works as it is. If it does concern you one possibility is swapping the Violin2 and Viola parts in variation 1, the Vn2 part transferred to viola an octave lower. But this was just a thought. The tempi changes otherwise avoid the feel of repetition to me, more than these are variations anyway. If you'd wanted to put one in multiple minor keys you'd have composed it that way. (An in
    1 point
  38. Thanks! I might repost this with a better recording though : P content wise, not sound quality wise.
    1 point
  39. ooooooooh I love me some I to bVI!! Nice job man! :)
    1 point
  40. It feels like I’m on the moon, staring down as the earth meets its final hours.
    1 point
  41. I think this is totally idiomatic. good writing for the piano. The piece is beautiful and interesting. Not anchored in old harmonies or structures. Nice that relies more in textures than in melodies.
    1 point
  42. First time writing for an ensemble this big, took a while, includes a small cello solo. Let me know what you guys think!
    1 point
  43. I have completed the first and second movement of my wind quintet and I am in the process of completing a rondo as a third and final movement to this work. I will probably use the second movement for a competition local to my home, the Isle of Man. There are usually only two others who compete in the composition class - the same two every year! - and we couldn't offer more different specialisms. I will be eternally grateful if an experienced contrapuntalist offered some of their wisdom should I need it. Obviously I am adhering to the classical tradition. I have spared you this time f
    1 point
  44. Nice job! The end sounds like after the choir ends there could be a faster denouement for just the strings and oboe and continuo. I don't know if that's common for pieces like this to end that way - maybe I heard an ending like that somewhere in the Baroque era before? I enjoyed listening so thanks for sharing!
    1 point
  45. In the last months I worked hard at my first small symphony. Spending some forgotten hours late at night to write notes in that marvellous app StaffPad. Slowly the story came to life. With this composition “The Boy Who Wanted To Fly” as an end result! I really challenged myself this time. I wanted to compose a classical story. A symphonic story. One that takes you by the hand and feeds your imagination. You have to know, I'm still a beginner. This is the second composition I wrote by hand. So any feedback, advise is much appreciated! About the process, I wrote it by hand in Staf
    1 point
  46. I like this! There's some nice use of augmentation and diminution of the subject throughout! Although I do take some exception to how the subject was derived from the name (I do understand that it had to be done selectively as not all the letters of the name could have a musical meaning) since La in A would be F# (the correct syllable for F in A minor is Le which occurs later in the name but you don't use it as such). Also, you interpreted the S as So but you could also have interpreted it as Es which in European would mean Eb (although that's just an option - understandably there's many wa
    1 point
  47. I think, with equal temperament now the standard, the keys no longer really have unique feelings associated with them in any scientific sense -- other than the range of the instruments being used producibg different timbres. But people still tend to assign the keys general moods based on (or simply inspired by?) the days before equal temperament, when there were very real differences between the keys. In Ye Olden Days, there would be quite a bit of difference in the ratio of the sound waves in, say, a major third in one key versus a major third in another key. One might be much closer to
    1 point
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