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  1. A litle tune I mixed, and added a bass line. Sin_Motivo.mp3
    2 points
  2. I've already sent mine via email earlier, but I guess I can share it again: https://www.dropbox.com/sh/17ynon62ej4y2er/AADfKwB2BUIJYx6bLxKPljG7a?dl=0
    2 points
  3. jk please dont mods lol. thanks man. you clearly have the Disney plus bundle haha. yah its an interesting thought, you usually alert me to things I dont comprehend yet. Ill try it in my next piece
    1 point
  4. can someone delete all my account and activity
    1 point
  5. A most accomplished piece, Theodore. Beautiful. Amazing how you got so much out of that most basic of themes. can I presume that was performed on a keyboard?
    1 point
  6. Thanks! I'm really glad you liked it! Even if you don't make it for this event, I would still love to be able to hear the finished product, it sounds like will be a really cool piece. 🙂
    1 point
  7. Yes, there's a different guitar piece though. (The variation was titled "No cobwebs on this guitar") and two piano variations, one a prelude and the other (Var 6) a lounge-styled representation. Again so much rubato so difficult to notate. I had to take lessons with DailyDuo for the prelude as it tended to the style of Liszt's 6th Transcendental study. I'll bung the mp3 on the forum in a couple of days. And look forward to your Piano Trio. I wasn't happy with my effort either, usually leaving a month at least before final revisions. The score is a bit scruffy but is essentially accurate note-wise. So... as and when. 🙂
    1 point
  8. Wow! Nice job @Theodore Servin and @Quinn! I'm not sure if I'll get to review these pieces anywhere else in the forum so I'll just do it here. Theo - What a great and emotional tour the force your Impromptu has been! Making use of the theme in many clever and quite salient ways - the link to the original is hard to miss. The theme being stated in high relief in the beginning sets the stage for quite a lucid and affecting development that resembles Rachmaninoff. The piece follows an arc of rising tension, climax, and denouement which leaves one feeling satisfied and like one has been on a complete musical journey in itself. Thanks for your participation! Quinn - The score looks good but I thought there was a guitar part in it? Or was that the part that was deemed impossible to notate satisfactorily? I know you posted your composition mp3 somewhere a while back and I heard it maybe twice or so but then it was removed? I'd love to hear it again! Thanks for participating! As for my own piece - I was fashioning a Piano Trio in A minor but it's not finished and I am far from happy with it. I don't know if I'll work on it more sometime in the future or not.
    1 point
  9. Ok. I sent the mp3 by PM. It treats pdfs differently in PMs than on the forum, so here's the score (that I can finish). It's registered with PRS. Tomorrow is the closing date! BTW The date in the pdf file title is wrong. I forgot to change it when doing the pdf thing.
    1 point
  10. As the Maestro said himself: "I make one sound, and then I move on to the next". -Morton Feldman I listened to his Piano and String Quartet, fascinating piece, especially toward the end.
    1 point
  11. Yes it is hard but thanks for your compliment! I get where your Minecraft idea comes from! Although this is hardly a melody, more like melodic fragments/cells. If someone is to play it I ask him or her to give every note it's own subtle quality and weight. A bit like you hear in performance of the works of Morton Feldman.
    1 point
  12. Lovely harmonies! It feels like you can use it very well for an accompaniment for another instrument or singer. Maybe write a full-formed melody on top?
    1 point
  13. Thank you, I think you're absolutely right haha, there is definitely a loss of meaning around the midpoint. I think it was partly due to my improvisational inexperience. I'm really happy to hear you liked the harmonies though, I put most of my effort into harmony when writing. This was mostly just an amassed collection of riffs I had tried to connect together using improvisation. I tend to struggle to transition between motifs. Anyway, thanks again for your comment! 🙂
    1 point
  14. Hello and welcome to the forum! I feel like you create some really interesting harmonic progressions and some ostinati that bring lots of energy and drive but then at the midpoint of the piece it sounds like all that kind of fizzles out. If you ever decide to notate this and try to make it into a formal composition I'd suggest finding that midpoint (~2:40) and composing a more convincing transition into some kind of ending (the ending you have also kind of sounds like you just stopped at a certain point - it could easily have ended at 4:04 - that chord sounded pretty final but then you continued it). Thanks for sharing!
    1 point
  15. I like it. I don't mean to diminish it in any way by saying this, quite the opposite actually, but it reminds me of some of the Minecraft soundtrack songs. Creating something simple yet interesting is very hard. I loved the chords from 2:07 onward.
    1 point
  16. I think it's time to present myself to this young composer forum, so I would like to show you my very first professional work, my piano sonata in c minor. A piece in for movements that I started composing in summer 2017 and I finished in early 2018. The sonata was originally based in 3 movements, so in 2020, during the pandemic I decided to make a revision of the whole score and to add an extra movement. So, I leave you here the link to the YouTube video where you can hear this piece: PD: If you like my music you could subscribe to my YouTube channel and share my music. Thank you and enjoy!
    1 point
  17. May I humbly present my brand new set of variations on an original theme for solo piano, in a late Classical style. Composed some years ago but newly recorded. Hope to lift your Autumn spirits! ` Https://www.youtube.com/watch?v=ZapGoHuesUY
    1 point
  18. Greetings. This is my second post on the Young Composers community, and I would like to present my recent piano composition. This piano piece is a short étude in the key of G sharp minor, a study for developing right-hand dexterity. Besides, this composition was an attempt to write a perpetuum mobile, consisting of notes of equal length played rapidly. Let me know what you think about this piece. I hope you will enjoy it! Carl Koh Wei Hao P.S. The audio was generated in MuseScore 2.3.2.
    1 point
  19. I really like it, thought I wonder if it would sound better if it were a bit slower.
    1 point
  20. Bring you new piece, for melodica, a little keyboard that works like a flute
    1 point
  21. love it, very fun. Making a piece for melodica was a great idea. But like Jan-Peter asked, when can the performer take a breath?
    1 point
  22. I put some music over a short video that I found on internet, I want to do more of these what do you think ?
    1 point
  23. Beautiful piece! I like the fact in the second recording there is less vibrato. I think it fits the piece better. Both well done btw
    1 point
  24. This started out as a discarded variation from a set I've been working on. It followed the theme obliquely but deviates too much to include in the set. It's an idealised rendering. Some of the sustained notes can't be sustained because the hands are moving about elsewhere. But it's reasonably realistic (I hope). Thanks if you can give it a listen and I'm always open to suggestions/criticism - much appreciated. Guitar piece D 191121 320.mp3
    1 point
  25. In the old days harmony was a term employed to describe a beautiful melody... Terms have been changed... We live in a time with huge variety so objective answers are very hard to come to. Western culture is very dynamic, grown more dynamic over the ages, and these days it came to the point we switch from one opposite to the other in a very fast pace. Yesterday this style appealed to us, tommorow its opposite. When I think about this question in an abstract way beautiful and meaningful art is able to bring opposites together, in harmony, in good standing. The middle point between opposites is impossible to reach so we can dance around it, making the invisible unity clear. In this sense every artwork points beyond itself and can therefore the listener or viewer to come to a transcendental experience (although some works have this more than others since not every work makes this to its (main) aim). But because we can never reach this middle point perfectly since it never can be expressed through anything this leaves us with an unending series of works of art. Every artwork is limited by being an work of art! A paradox... I think a good artwork knows its limits and because it knows its limits all elements fall into a meaningful place. It's not only beautiful because it makes apparent what is beyond it is also beautiful because it is limited, in its humble existence so it can point beyond itself. Dissonance can help make things more beautiful when it is placed in the context of consonance. A good work of art isn't only pleasant but at least also a bit painful to experience because it is a testimony of life as it is. We humans have the capacity to appreciate this and find beauty in tragedy. Some thoughts... A bit chaotic maybe. But you might find some things to think about.
    1 point
  26. The oboe solo at 3:45 is really long and it's not obvious where the performer should take a breath because the melody is like a run-on sentence without clear structural delineations. Overall though you have some good ideas and the orchestration/instrumentation is quite idiomatic for the respective instruments. You do a good job of creating an atmosphere of desolation and deep melancholy. The open fifth tremolo in the violins is also quite dramatic and sets the stage for the mood you chose to create. Also, because the piece is in 3/4 it can't really function as a march per se. Marches are in 4/4 or 2/2 time and are usually a bit more martial and at walking tempo. Your piece is much too slow to march to even if you split the bar in two. And it's too fast if you were to take a step on each 8th note. The only thing in this piece that reminds the listener that it should be a march is the timpani - it works well to create a dramatic and repetitive/hypnotic aura though - I'm not saying you should remove it. Another thing is that the piece stays the same mood throughout and there's very little contrast - the piece is just one long section almost. But I guess that was your goal when you set out to compose a piece about death - it can just get a little tiresome sometimes. It could stand to be shortened or made more concise somehow if you ever re-work and feel like making it more interesting (of course you don't have to). Anyways - thanks for sharing! Overall I think you succeeded at writing a piece about death if not exactly a march!
    1 point
  27. It's down to perceptions. If I wanted to write something that sounded good I'd first gauge what sounds good to that particular audience then try to emulate it: analyse its qualities and apply them. A good example is Epic film music. I'd listen to it, take a guess at the orchestration, ask people about things like reverb and production; buy a decent sample library and daw. (I hate modern corporatised film music so rarely enjoy the proud efforts of those who present it LOL). Then I'd find a way of testing the reception of what I've written. If I wanted my music to sound good to a "classical" or romantic audience I'd learn good CPP, practice writing coherent tunes and study the scores of the greats to learn their orchestral technique. What sounds good to an Adele fan probably wouldn't to a Mahler fan and vice versa. The audience for my music is small. I'm obviously pleased when someone claims they like it but it doesn't matter if people don't. Question is, am I satisfied; is the piece as I hoped?
    1 point
  28. Oh I see like this one for example 😉? I didn't thought about it thanks for the idea at 18:16
    1 point
  29. This is a really deep subject. The entire study of the craft of composition would have to be explained to give a truly concise answer. The short answer I believe would be that there isn't a single aspect that makes an entire piece sound good. Rather, there are things that make each individual aspect sound good. Things that make them sound good together. Things that make them sound good as a part of a larger structure. Now here's my personal philosophy that comes from observation of other composers: I believe that most anybody who is able to put their mind to it — not all are able to, and often that's why these types don't even bother trying to become composers — can become a "good" composer if they master the many aspects of the craft. However, there is a difference between "good" and "great" and what I believe separates the two — and although I don't think I am a "great" composer I am flattered to have been told by some that I have at least a bit of this — is that you are also an aesthete. Someone who has a keen eye, ear and imagination for the beautiful and inspiring. Even if you are writing melodic death metal or horror music. This is something that you either have or you don't. Every great composer and artist I have met and through history seem to have been aesthetes in addition to having a strong command of all aspects of the craft on a technical level. All of them. They all had a great sense of style and taste. I've met composers and songwriters where it just doesn't matter how old they get. They ALWAYS know what's cool. They always have these little brilliant ideas that just pile up and pile up in their work because they intuitively know this is going to be great. It's the aesthetic choices of the piece; the choices that are actually irrelevant to whether or not the line sounds good. It's choices that are purely a matter of taste that when combined with good craftsmanship, elevates the work from sounding "good" to sounding "great". For example, a lot of people liked my "Open Road Runaways" and "The Fortress of Your Heart" tracks. In the former, the addition of the slide guitar was a purely aesthetic choice; I had nothing in mind for the slide guitar parts, nothing written, but I just thought it would be cool and so I bought a bottle slide and improvised. Toward the end of the piece, on the last quarter-note bend before the end, I thought "Man, this part would sound sick with a phaser on just this one note". Similarly, in the latter tune, all my choices for instruments were based on what I thought would sound cool together. Wouldn't a rompler playing over a galloping bass with pedal tones be a good way to start it off? That would sound cool. Then, in the break part leading up the guitar solo, what if there was a sub-bass dive and all the other elements drop out, just leaving that reverb'd rompler to play the intro, but then there's a wicked guitar whammy dive into a solo that goes up a fourth? Man, that would sound epic and really breathe new life into it, I'll bet. None of those choices actually impact whether the individual melody, harmony, etc. sounds good. The melody would still be a good melody if it was played on a piano, classical guitar, or a windows General MIDI synth patch — but it is these choices which take the piece to the next level and let people really connect with it. It just wouldn't be the same with something different. Although the melody would still sound good on winds, strings just feel like the choice that gives it that real "soaring" feel in the chorus. It just HAS to be strings. Without that phaser being switched on JUST on that ONE bend at the end, it just wouldn't be right. I could've harmonized ALL of the piano melody in thirds, but I chose only some of them. Because those were the notes that I just thought would sound best harmonized. Etc. This is the aspect of music that cannot be taught and I believe it is a necessary aspect to turn "good" musical ideas into "great" ones.
    1 point
  30. I think besides the duality between harmony and melody that has already been mentioned (I call it a duality because I believe the two are closely linked - one implies the other and they generally work in tandem to create a melodic/harmonic adventure), another important thing in music is the balance between variety and unity and the pacing at which new material is presented. I recently started a giant variations project that I didn't have any hope of finishing because I tried too hard to create unity between all the thematic material without enough variety (despite it being a variations piece I felt like the variations weren't different enough from each other to create interest). Anyways - the project went downhill when I kept trying to exhaustively work out each variation I had come up with for a bigger ensemble without really any idea of how I would fit the pieces together. I didn't have a deadline so the piece just kept getting bigger and bigger until it became unmanageable. All great developments strike a balance between unity and variety that creates interest. Or in other words - a balance between novelty and conservatism.
    1 point
  31. The harmony definitely plays a role, but for me, the melody is just as important. I find Bruckner 7 first movement to be achingly beautiful because of all the solo lines and harmonic changes. The cellos especially have some beautiful melodies in that movement and the cello is my favorite string instrument. And an almost constant sea of modulations in the movement in some ways make those solos even more beautiful. Pieces which I find to be beautiful mostly from melody include: Chopin's Nocturnes Grieg in general Debussy's First Arabesque and Clair de Lune Liszt's Liebestraum Schumann's Kinderszenen Quite a bit of Brahms Then there are pieces that I find beautiful because of their harmony more so than their melody, such as: A lot of Liszt pieces Mozart's Fantasias Chopin's E minor Prelude And then there are pieces where melody and harmony are equal contributors to the beauty of a piece, such as: A lot of Beethoven's pieces A lot of Mendelssohn's pieces Haydn's pieces Bruckner's pieces
    1 point
  32. Fun piece, lovely harmonies. But when can the performer take a breath?
    1 point
  33. One of these days you'll have to stop blatantly stealing others' music. If you ARE going to steal, make it a piece by someone obscure. Is it any wonder you're asking for ideas? You have none of your own and you aren't Rachmaninoff. Here's the piece you stole from. You just shifted it down a semitone. https://www.youtube.com/watch?v=YmSDDslA__M But... I relent. Here are a couple of totally original ideas for you. Maybe they can be added on:
    1 point
  34. To my taste there are several disconnected parts. Some of them are nice and interesting (the second, the third with the piano). But the overall effect is he one of a pastiche.
    1 point
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