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Showing content with the highest reputation since 12/08/2019 in all areas

  1. 2 points
    Thank you for your kind review ! 🙂 I know that some of my pieces are truly inspired from other composers but it is something that I accept. I just try to master different styles in aim to develop my own.
  2. 2 points
    CONGRATULATIONS @Gustav Johnson @Tónskáld @Noah Brode I've been so excited to get the feedback/scores for this that I forgot there would even be winners! You guys totally deserve your places at the top in this challenge! Each one of you wrote such a lovely submission. Great job guys! Can't wait for the next one!
  3. 1 point
    Hi! I'm a school student in Scotland. I play piano, flute and have recently picked up the violin/fiddle. I have been composing for quite a few years, and I write in a style reminiscent of the Romantic period, my favourite. I've been on the site for a couple years, and the activity does seem to come and go a bit. Recently (ish) we have had a lot of new members joining and old members, like yourselves, returning. It does seem to be busier, and people can get reviews quicker. I live exploring different music that people are writing on this site! Regards
  4. 1 point
    I have a composer friend in Houston (who used to be on this site). Some good talent there!
  5. 1 point
    I definitely am most of the time (you'll see when I post my Christmas music!); this was written for a friend who kind of hinges on the edge of enjoying modern stuff. I don't plan basically anything I write, so the fact it comes off as repressed as opposed to slow/boring is just as good as any compliment. Thanks!
  6. 1 point
    I'm KJ! I'm a pianist and composer from San Antonio. I play keyboard at my church and my main outlet as a composer has become writing worship arrangements for our orchestra and choir under the guidance of my worship pastor. I'm not a music student and have not studied composition or theory. Despite a couple years of inactivity, I've actually learned a lot of what I know from observing and listening to the music you guys post on this site. A sizeable chunk of the people I originally met on this site have become inactive in the last few years so I'm glad to have had positive interactions with some of the folks I don't recognize as well as the handful who are still here from before. I'm enthusiastic about being back on YC because there's always such cool music being posted here that I otherwise would never find! I think that sums me up well enough. Hopefully some other people also decide to put in a little blurb about themselves so I'm not the only one!
  7. 1 point
    Exactly, I always over-orchestrate. This seems to be the problem that permeate all my pieces. Oh well, one day I'll learn how to deal with this.
  8. 1 point
    Of course, it's a draft. But good and promising. Besides, your work encourages me to write using this languages, which I love... But being so unpopular, I haven't lately worked on them very much.
  9. 1 point
    Wow, it's difficult to follow the score, split in two pages. I've listened to this 4 times. I like atonal music, and all its derivative systems. It's challenging to build a coherent work with this language. I think the introductory part is good, but it's not connected to what comes next. I don't know if you have the idea of linking it in some way. It's nice you establish an anchor with the three note motive (ascending and descending). Atonality needs this alternative methods to be coherent and not arbitrary. The entrance of the piano is quite good, I like its part. I assume the midi sounds are not the best. but it's enough to get the idea. One issue I would try to work more is dynamics. Those very long crescendos (endless hairpins) make not much sense.
  10. 1 point
    Hello guys, I am totally new here and I am really impressed by discovering such an active forum with so many talents! I am really surprised, didn't know there was such a place on the web! Anyway, I am a youngish composer (31yo), I started composing around 2 years a go (but play the piano since many years). I have composed a good amount of stuff but my favourite is probably Math Piano Rock. This is inspired by Math Rock, a fast paced genre with frequent change of rythm and no lyrics (I hate lyrics!), but also Prokofiev and Bartok. The piece is *difficult*! The video below is performed by a software - but I have actually played it live a couple of times (you can see in my channel some videos where I do that, if you are interested). I am always looking to opinion, suggestions and ideas!
  11. 1 point
    The idea of it is pretty cool. I like how the beginning comes back near the end of the exposition, but it seems a little heavy handed at the beginning in order to achieve that effect. What might be cool moving forward is preserving hexachordal combinatoriality with the start of that figure horizontally and vertically, since you seem to already want to do that in places like mm. 21-23. Finding a way to invert that combinatorial figure vertically would give you a lot more early-position row forming down the line that all sounds similar.
  12. 1 point
    1. This sounds pretty cool and I love it. 2. Your score confused the heck out of me and I can only assume the fault lies with FLAT. You're performing admirably under duress.
  13. 1 point
    Hey my friend, One thing to consider is marking slurs on the cello part. I don't know if you are aware that generally, string players use slur markings to know how many notes to play with one bow. This can affect everything from volume to tone color, so for places like measure 9, think about a cellist playing that and whether or not you want them doing all four notes in one bow or doing maybe two to a bow for better sound. If you have thought of this and have marked accordingly, it's fine. I wanted to let you know just in case though. I was writing the above comment when the "He-Ya!" started; that scared me! Lol Very cool though. Also, the 5/8 bars are cool. Overall, I think this piece is really interesting and would be great fun to hear live. It's very imaginative, and I was looking forward to what came next the entire time. Great job!
  14. 1 point
    Composed some years ago, written in both contemporary and jazz styles. Hope you enjoy. https://www.youtube.com/watch?v=QV76RLRVce4
  15. 1 point
    Hi, here my new composition. I wanted to create a dark and dramatic atmosphere with the use of brass and double reeds. It starts with a Trombone solo with a timpani triplets, with reminds me somebody knocking at the door heavily. And in bar 12 come the violins with descending sixth chords with a seventh tension on the first violins, that reminds me of heaven and the angels. The main theme with its full harmony comes in bar 18 played with the full brass section and doubled with a timpani triplet pattern on the tonic and the dominant. at bar 45 comes the second section, more lyrical, with a choral style and after that, at bar 72 comes a repetition from the beginning with a final coda. I don't extend more my explanation, you can see more by yourselves. Hope you enjoy and looking forward to you comments.
  16. 1 point
    Delightful pieces. Nice to see a brevity of material. A few things to consider: I'd really like to see you explore more contrapuntal textures within your work. You have an excellent control of melody. Developing textures that add depth to your melodic/thematic/motivic ideas would greatly increase the scope of your works. These pieces are good examples of this need. The first rondo could benefit from more variety in the accompaniment patterns. I'd consider breaking up the overall 8th note pulse that you rely on throughout this movement. Also could be an excellent chance to explore placing the melodic material in other areas of the instruments range? The second rondo is a little more varied in terms of the accompaniment patterns. Again, I would consider adding some depth with the addition of some contrapuntal material. This would definitely delineate the various sections and add more interest here. The third rondo is perhaps the best of the set. The sections clearly interplay but... also are independent enough to stand alone. I'd like to see this fleshed out a bit -and expanded just a tad.
  17. 1 point
    Nice pieces. Apart from the systems you use herem there is a basic principle of tension-relief. In some cases (as happens in III and I) it seems you loof for the tension most time. For example, in I the intervals are b2, 2, 4... dominating the whole piece. in III there are clusters like D#-E-F or the final chord G#-A#-B. It's not bad at all, but I miss the contrast of other relatively consonant groups. II and IV have a richer texture with good counterpoint.
  18. 1 point
  19. 1 point
    Those notes are supposed to be played at the same time by 2 fingers, as 2 independent voices. One example of this happening by greatest composer is Bach's Inventio no.1 where he does overlap 1 note for each hand, near the final part of the piece.
  20. 1 point
    The pieces are fine and could be useful. Thanks for sharing them. However, I would like to see more coherent melodies as well as more harmonic variations , possibly with some purposeful dissonances ( there is some of it in your second piece).
  21. 1 point
    I thought that I had finally finished my 4th étude, but then I found several errors, so I will post it later. In the meantime, I am posting an earlier étude (nr2), which I revised quite a lot about two years ago. I dedicated it to a great pianist and friend, who passed away. I would like to know what you think of it.
  22. 1 point
    Hi! I wrote this piece for submitting to choral composition competitions in next few months... Could you give me any comments after listening to the piece? I'd really appreciate your help! (Attached are PDF score and computer-generated audio)
  23. 1 point
    This is an interesting idea. I think it's a little bit of a shame how PC6 was delayed from P0, only to just kind of show up in an inner voice. M. 18 also seems a little bit empty compared to the relative motion of the passage before it. It's a neat idea for a piece, though! Nice to see some different stuff on here once in a while.
  24. 1 point
    Thank you to everyone who participated! It was super fun being able to see a truly full competition again, after a lot of hard attempts to get off the ground. I'd like to thank every contestant for bearing with us judges as we worked through some new and malleable competition terms, but I hope it still made a for a fun, creatively nuanced experience that'll assist with your thematic development down the line. Every single person contributed a lot, and it was really fun to listen to new ways to take old stuff (see our old Theme and Variations competition); every piece had a wonderful arc and I appreciate you all for joining in! Without further ado... the places: 1. @Gustav Johnson – 91.5/100 2. @Tónskáld – 91/100 3. @Noah Brode – 84/100 Congratulations, Gustav! The chart with my and @Luis Hernández's scores is attached to this topic post and contestants will find their individual remarks in the comment section!
  25. 1 point
    First one: I think a little bit of variety would do well here. Doesn't seem to be much until the end. Second one: I love the brevity of material here -and feel you could have done a bit more with it. Similar to the first one, your variation of the material doesn't provide as much variety. Third one: This one has a more playful nature to it -that I like. One thing that would really benefit this one is a bit more contrapuntal usage. Not sure if you thought about maybe transforming the base material of this into a more fugue-like passage, but it would lend itself well. I'm curious why these are all listed as being in C major?
  26. 1 point
    Seems to have a bit of a juxtaposition in style between the opening, middle, and end. I think the overall harmonic language could have been a bit more uniform throughout the piece -again, I'll reference the idea of juxtaposition. Overall, a nice playful piece. Would love to see this more worked out!
  27. 1 point
    Very lovely! I love etudes and studies in certain ideas like your exploration of arpeggios, scales, etc. for every key. You did a good job! I found some notes that overlap in #3, but otherwise pretty flawless 🙂 Gustav
  28. 1 point
    Nice music. It's remarkable the way you get a really (but mild) oriental sound, just using scales and some chords (not all) with 5ths and 4ths in the bottom. Surely you would get a stronger (oriental) sound with other devices (pentatonics, scales with augmented seconds, etc...). But it's OK, because it blends very well with the polonaise part. There is only one thing I'm not very fond of, and it is, particularly in the first part, the "excess" of arpeggiated chords. I think it weakens the piece, I mean, it makes it sound more "¿corny?", and it belongs to another style. I know if you have wide chords there is no other way but to roll them, but I would figure out other solution (just my opinion, if you like it ...OK).
  29. 1 point
    Very nice job!! It's beautiful, it's me or Do i feel some asiatic music influences? I like the middle part more, it's more classical/romantic alike, the start seems more modern.
  30. 1 point
    I think he meant that he does that, too.
  31. 1 point
    Prokofiev On The Importance Of Melody I have never questioned the importance of melody. I love melody, and I regard it as the most important element in music. I have worked on the improvement of its quality in my compositions for many years. To find a melody instantly understandable even to the uninitiated listener, and at the same time an original one, is the most difficult tasks for a composer. He is beset by a great multitude of dangers: he may fall into the trivial or the banal, or into the rehashing of something already written by him. In this respect, composition of complex melodies is much easier. It may also happen that a composer, fussing over his melody for a long time, and revising it, unwittingly makes it over-refined and complicated, and departs from simplicity. I fell in to the trap, too, in the process of my work. Arnold Schoenberg On Artistic Expression Art is a cry of distress from those who live out within themselves the destiny of humanity, who are not content with it but measure themselves against it, who do not obtusely serve the engine to which the label “unseen forces” is applied, but throw themselves into the moving gears to understand how it works. They are those who do not turn their eyes away to protect themselves from emotions but open them wide to oppose what must be attacked. They do, however, often close their eyes to perceive what the senses do not convey, to look inside of what seems to be happening on the surface. Inside them turns the movement of the world; only an echo of it leaks out -the work of art.
  32. 1 point
    Congrats to you all for your work. Many different approaches... For me, also a challenge to study your works. I've learnt a lot!
  33. 1 point
    The thematic material is good. I think overall there could be some more 'full tutti' where all the instruments are playing. It seems to be mostly in sections, which can work very well. In fact, many composers fall into the trap of having all the instruments playing all the time. One particular thing I noticed is that the oboe is in its very low register a lot of the time. Example is Bar 19. The oboe is inflexible and very loud in this register. You could give those passages to clarinet or even horn for some of them. Here are some little other things' Bar 10-17: This woodwind passage has only the melody in the flute. Perhaps you could change that up a bit? Bar 18: That horn line will be difficult! The timpani doesn't play at all in this section. I think it could do with more percussion. Adding the piano will make a huge difference to what this sounds like as a whole, and some of the passages will make more sense.
  34. 1 point
    Yowza! Thanks all!! For the kind reviews and for your entries, this competition was a challenge no doubt. Hey, do we have a running list of competition ideas somewhere that we could update and add to? This one was super challenging but also very rewarding not only because of the participation but also because the idea itself was challenging. I'd love to see more competitions at this level, and however we can be a part of growing that would be cool. Thanks @Monarcheon and @Luis Hernández for all your hard work - can't wait to read the comments. Gustav
  35. 1 point
    I must echo @Noah Brode... thank you, @Monarcheon and @Luis Hernández for your dedication and thorough evaluations of these works. And for the time you sink into this forum in general. It does not go unnoticed. Special congratulations to @Gustav Johnson for the win! I'm just honored (and pleasantly surprised) to have been named among the top 3. (I kept checking the individual judge's scores to make sure there wasn't a math error.) All of you were quite worthy competitors and I'm fairly certain none of us would have produced such top-quality works (speaking for others, of course) had the standards not been so high. This competition stretched me in so many good ways—I'm already looking forward to the next one!
  36. 1 point
    Thank you to @Monarcheon and @Luis Hernández for their hard work as judges, and thank you to all of the other entrants for their fine entries as well! Third place is an honor among such solid competition. Congratulations to @Gustav Johnson and @Tónskáld for their well-deserved honors! This was a hearty competition that hearkened back to days of YC past, and it makes me optimistic about the future of competitions here. Well done, all!
  37. 1 point
    yes I like it, it's fresh and original
  38. 1 point
    This is fascinating! I love your chord progressions here. And the rhythm is so... nonchalant, just like a cat. I feel like you've captured the subject very well in the music. Great job!
  39. 1 point
    Thanks a lot!! You actually got me! These were the main reasons, but I would add that each Rondo is focused on stacatto practice too and the first one is focused on phrasing too.
  40. 1 point
    However you interpret your future, let your musical growth be organic. Don't force it and don't bend to the demands of others, unless they're paying you. (😉)
  41. 1 point
    Just recently finished my piano piece titled "Walking on G." It's like a mellow mesh of Erik Satie & Arvo Pärt. Would love your guys' feedback on this!
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