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Showing content with the highest reputation since 07/02/2020 in all areas

  1. 4 points
    Hello! This was my shot at creating a few variations on the theme that @Ivan1791 posted in the 'Challenges' section of the site yesterday. One thing to note was that the flatted sixth scale degree in measure 5 (Ab in the original key of C Major) was important to the original composer. I did my best to keep it around in most variations, although the harmony differs from the original intent in some cases. In minor key variations, I changed this to a sharped sixth scale degree in order to maintain the 'borrowed tone' aspect. Let me know what you think overall! Thanks for listening. EDIT: Brief explanations / explications of the genesis of each variation can be found in the musical score.
  2. 3 points
    Tried my hand at @Ivan1791's challenge just for fun and whipped up something quickly. I think it's pretty fun! The justification for the last variation is that each beat in the right hand uses (0148) which is the "dissonant" chord's pitch class set. Enjoy!
  3. 2 points
    Below is my submission for @Ivan1791 variation challenge. I wrote 5 variations on Ivans theme. and I hope you enjoy them.
  4. 2 points
    A soundtrack born from a whistle in mind. I imagined it in a menu or a prologue of a game or fantasy film, let me know what you think. https://www.youtube.com/watch?v=hWgl-oEjZcY
  5. 2 points
    My second minuet and trio. I'm learning alot in writing these pieces. I would appreciate any feedback, I have no idea whether it's absolutely awful and impossible to listen to the end? Are the melodies boring? Is the harmony awkward? Is it too predictable or cliche? If you played and stopped listening, please let me know why. Even one word replies such as, 'yawn' are valid criticism and appreciated because I'm blind to my own music. minuet_and_trio_in_G.mid
  6. 2 points
    I wrote a Romance for piano trying to explore some romantic harmonies I'm not very used to. It has a ABA' form. A is like a Funeral March, but It should be in 4/4 metric to be a Funeral March. B is a more lyrical section, contrasting in texture and tempo with A. At the repetition of B there's a modulating section using dim7 chords. Any comments regarding style or harmony are wellcome. Hope you enjoy it!
  7. 1 point
    This piece is only made using chords. This is just an experiment. feedback expected.BTW Inspired from chopins e minor prelude.(op 28 no 4) https://flat.io/score/5ecfa73218c179027f492cdd-warning-cursed-audio
  8. 1 point
    Those notations of woodwinds sound really good. Which VSTs did you use for them?
  9. 1 point
    I'm currently composing a march for an orchestra based off of a picture of the Battle of Iwo Jima and I'm kind of stuck at the trumpet fanfare that comes after the foreboding intensity of the previous brass chorale. There are 2 that are coming to mind and are in the key of Bb(which while not the key of the march as a whole, is the key of the trumpet fanfare) and I'm not sure I want to use either of them. The 2 that are coming to mind are the Star Wars theme and the US National Anthem. I thought maybe I could use just the first phrase of the melody of the US National Anthem and build the rest of the fanfare differently but even that is turning out too familiar, too predictable. So now I have no idea what to do. Do I just go ahead and use the melody of the first phrase of the US National Anthem overtly and just harmonize it differently, despite the fact that it will probably be super familiar to the majority of listeners(maybe with a textural creschendo and diminuendo within the phrase)? Do I start with the arpeggio and then write a completely different melody that is still in Bb major and still emphasizes long note values? Here is what I have so far of the piece:
  10. 1 point
    I havn't recorded any mp3's to post yet but I'll be working on that soon!
  11. 1 point
    Here's another sad theme. It is the follow-up to a very horrendous piece that I wrote (titled "piece"). This piece was a bit rushed... but I think it has a nice melody. Oh and btw, it's a little over 2 years old.
  12. 1 point
    Hi Noah. I'm a newb here and thought I'd listen to some music! I like some of the chromatic scoops you include in the strings especially in your overture. They definitely add to the lighthearted feel of the composition. I like the horn intro too.
  13. 1 point
  14. 1 point
    I don't know if I would call this a piece. I think it is a really great chord progression
  15. 1 point
  16. 1 point
    Hi Nicholas just discovered this lovely piece you wrote and composed i can only conclude that you had some kind of "Spirtiual" Guidance that made this piece quite unique from others. Well Done x
  17. 1 point
    I made a plan for the keys of the movements and how i wanna structure each movement and stuff, I already have a sense of what i wanna say with the music, however i can't really express it as smoothly as i want, that's why i was unsure if i should focus on a smaller size work before composing something like a symphony. Thanks for the sibelius tip!
  18. 1 point
    In Sibeilus, input the first note of the ten-tuplet (in this case a 32nd note on the downbeat). Then with the note still selected, go to Note Input > Triplets > Other. Enter "10" in the top of the dialog box, then hit ok. It should create a ten-tuplet for you to fill in. Write with a plan. Why do you want to write a symphony? What do you wish to "say" with your music? What structure do you want it to have? Start with the big picture, then work your way down to the details. If you're just starting out, don't take on more than you can handle. Focus on coming up with a plan and executing. How did you write this piece? Did you have a structure in mind when you started? Or did you write the first thing that came to mind?
  19. 1 point
    Interesting piece, thank you for sharing. I like the contrapuntal stuff you do with the strings, for example m. 4-9 and m. 32-34. I wanted to ask what your intention was on some of the metre throughout the piece. There are several places where, as a listener, I feel the time signature to be 6/8, but in the score it's in 4/4. For example, m. 48-52. The feel of 6/8 is so strong here it would make sense to me to write the score in 6/8. Was your intention for the piece to feel this way, or am I missing something? There are several spots like this where I think the notation would confuse the musicians, m. 62-63 is a notable example. I would try to write this so the rhythmic emphasis occurs on the beat, instead of the second note of a set of sixteenth notes - see below. I might redo the scale at the beginning as a "ten-tuplet" so the E falls on beat 2. Also there are several spots where respelling the accidentals would make it easier to read. For example the horn solo in m. 82-90 - I would spell all of these accidentals as sharps instead of flats. Thanks again for sharing, are there any more movements to the symphony?
  20. 1 point
    I will try to ask them but they don't answer questions like this very often. Thank you for the information.
  21. 1 point
    I personally am not a fan of the system especially for something ambiguously tonal like this. If it's supposed to help with exact scale degrees, then in something like this there's no difference between, say, Ri and Meh. Anyway, Ivan1791, it may be an arbitrary question but different places like different things... So it's always good to be specific.
  22. 1 point
    disturbingly beautiful!
  23. 1 point
    Okay, I will try to remember. Anyway if you are subscribed you will see it around the 10th-11th of this month. There I might not post my variations there because I'm having problems with my family and I'm not in the mood for composing.
  24. 1 point
    @PBStu In my country we're not even close to the end of it. Guess that'll take a few years till completely dealt with. Anyway It's nice but no more than that. Here's the best advice that comes to my mind at the moment: Since, I believe, this one is not made for an elementary school band- make more variations in rhythm and harmony mainly. Oh and the Bassoon dynamics should be change because they're pitch dependent. Also it's not very common to use the Timpani so frequently because it should be an instrument of great impact at specific moments. I think you should use Snare and Bass Drum there instead, or at least make fewer Timpani appearances. Here, you can look at this work of mine as an example to what I see as right for fanfares:
  25. 1 point
  26. 1 point
    One of my favorites too! Thank you for sharing, you did a great job!! You made my day!!
  27. 1 point
    with Charlie Haden on Bass.
  28. 1 point
    Thank you for participating. I really liked your set of variations, really creative; and the last one is insane haha, I didn't expect that. Is it okay if I show it in my channel?
  29. 1 point
    wowwwww those chromatic lines are so moving!!! reminds me of Jaco. I miss him. nice job! oops lol i thought u wrote that
  30. 1 point
    I chuckled at the last variation. Very nice!
  31. 1 point
  32. 1 point
    This music would have been written for the court of Queen Charlotte, serving some functional purpose. Sounds like it’s early 1760s
  33. 1 point
    @Bradley Scarff -- You're probably right. I was thinking that I should have done some more dis-assembling / re-assembling of the theme, and possibly broken it down to its most basic elements more than I did. Next time I will! Thank you for your compliments and review. I appreciate it!
  34. 1 point
    fantastically written! I don't feel like you took advantage of the thematic material as well as you could have done though he second variation is my favourite because I think you did it exceptionally well there, however the rest at least to me fall a little flat. Either way well done.
  35. 1 point
  36. 1 point
  37. 1 point
    Hi Would have liked to help with the layout & format but it looks like the project has been Decommissioned ?
  38. 1 point
    Thank you! I love John Williams, especially his orchestration for brass, which is always so powerful. Thanks for taking the time to listen and review
  39. 1 point
    No, although I can send this to you personally later.
  40. 1 point
    Hello Noah Well done, youve got a good melody line there that you reintroduce, through out the overture, to reiterate . I would say that in Famous compostions "Melody - is the Diamond on the RIng" SUPERMAN , by John Willams Takes less than 3 seconds to IDENTIFY. I think youve followed a few of JWs Scoring-techniques in your Concert Overture in Bb Major. well done. Noah.
  41. 1 point
    Yes, you are probably right. I don't play a wind instrument, so it's always helpful for me to get insights like this. Thanks πŸ™‚ Amazing idea that I would not have even considered if you hadn't mentioned it. I actually tend to do this rhythmic change-up fairly often in 3/4, so this is a useful tip for me. I've even been experimenting with layering 3/4 and 6/8 rhythms on top of each other in more contemporary-sounding pieces. It's a bit of new material for sure, though the flute is playing a slow, D minor version of the main theme during this bit. The orchestration just sounded a bit thin to me there, so I added in the clarinet as counterpoint. You may have noticed that I'm pretty poor at creating development sections in general. It's always been my Achilles heel. As for the 'BA' recapitulation, I can only say that I wanted to end the piece with that particular restatement of the main theme. I thought about having it be a sort of ABA recapitulation, with a full restatement of the main theme after the development section, but I thought that might be... overdoing it. Thank you for all of your compliments! I am glad you liked certain aspects of the piece, and you've certainly given me some things to think about. @gmm
  42. 1 point
    You're doing the right thing here: trusting your gut! There's no correct answer to your question, though. Take a break and listen to some of your favorite music (or be adventurous and try something new)... I guarantee an idea will come to you eventually. The main thing is not to force anything, and it sounds like you recognize a forced variation when you hear it. That's good news! Keep at it, and don't be afraid to scrap everything and start afresh. Sometimes I'm amazed at how themes I've trashed have found their way back into my musical tapestry. πŸ˜‰
  43. 1 point
    Hi Noah, thanks for sharing your piece. I really liked the opening with the tremolo violins above the horn melody, it kind has a "Blue Danube Waltz" feel to it. One thing I noticed is you have the trumpets entering at Rehearsal B on a high concert Bb. I would think the trumpets would completely dominate the orchestra in this register, I'm not sure if that was the intention after the preceding quiet section. Also in the section you have the Flutes and Oboes on repeated staccato notes, I wonder what it would sound like if instead of repeated notes they were playing a staccato arpeggiated figure. I think this might add a little "flair" to the winds in this section. I noticed you like to bounce between a 6/8 and 3/4 feel at several points throughout this piece, which is a really neat effect. From a notation standpoint, it would help if you grouped the note stems to make this easier for the performers to realize. For example, at Rehearsal D, group the first two measures as a 6/8 feel, then return to 3/4 for the next few bars that have the "triple" feel. You don't need to actually change the time signature, but group the notes so the rhythmic "feel" is more obvious to the performer. I wondered if I could also ask you about the form you used. From what I can tell you use AB, repeat AB, development, BA. I was curious how you came up with the structure of the development (starting at Rehearsal G and ending at Rehearsal J). I can find references to the original themes, but some things seem kind of random. For example, the Bb clarinet part 5 measures after Rehearsal H - is this derived from some of the earlier themes, or is it new material? If this is something I'm just missing please feel free to point it out. Also, was there any reason you chose to recap theme B (starting at Rehearsal J) before you recap theme A (Rehearsal L)? Not that there is anything wrong with doing this, just curious why you decided to flip them in the recap. Btw, I liked your decision to restate theme B in the low strings and bassoons at Rehearsal J, and I liked how the timpani adds to the "bounciness" of the "triple" rhythmic feel here. Thanks again for sharing!
  44. 1 point
    This is my 1st orchestra chamber piece... Hope everyone enjoys!!! A Lovers Dilemma (1).mp3 Sheet Music: https://flat.io/score/5eb99ee6ae694208449213c9-a-lovers-dilemma
  45. 1 point
    I like this a lot. Shows much promise, and as do you as a composer considering you arranged for a performance (something which the vast majority of us on here do not seem to manage). What are your goals/ambitions with respect to composition and what style do you seek to learn/emulate?
  46. 1 point
    Well, they're nice. Good Jazz songs. If you'll excuse me saying so, the instrumental side didn't sound as crisp as it could be*. I'm not technically enough into production to know why though I suspect they were mixed at too high a level so that compression came necessary. Did you do the arranging? If so it was very good. *My first encounter with what could be done on record was Sheffield Lab's direct to disc recording of Harry Jame (Lab 3). Even now it stands out as an example of super hi-fi as most Sheffield Lab discs do.
  47. 1 point
    Thanks for your support, Soup ( Even if it's a little biased :) ).
  48. 1 point
    Pretty great! Thank you for posting!
  49. 1 point
  50. 1 point
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