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  1. Good evening everyone, I am excited to present a new piece I have been working on: "Sinfonietta No. 2 for Large Orchestra". I have been working on this piece since last December (with a few interruptions due to the pandemic and life in general) and just added the finishing touches this last week. I chose what you might call an "extended" sonata form, with a longer introduction, exposition of two themes, development, recapitulation, and resolution/coda. I am interested in any and all constructive feedback. Since I just completed this piece, I'm very interested and open to ideas on how it could be improved. Like my last work, it is a little long clocking in around 20 minutes, so I broke it up into "chunks" if you want to listen a little bit at a time: (0:00 - 4:12) Introduction (0:00 - 1:33) A piercing opening that leads into a stormy "Infernal" theme (1:33 - 3:48) An ominous theme that leads into a passionate proclamation (3:48 - 4:12) - Brief return of the opening theme (4:12 - 5:48) Exposition of Theme A, a thundering overflow of aggression (5:48 - 6:32) Brief Transition from Theme A to Theme B (6:32 - 8:19) Exposition of Theme B, a wandering chromatic theme underscored by a heavy ostinato (8:19 - 14:03) Development, referencing and expanding the themes above, while deriving a few new ideas from the themes as well (14:03 - 15:35) - Recap of Theme A, transposed (15:35 - 16:00) - Brief Transition form Theme A to Theme B (16:00 - 17:45) - Recap of Theme B, transposed (17:45 - 20:18) - Resolution/Coda, a somewhat impatient, but ultimately triumphant finale As you listen, there are a few things I would like to hear your opinions on: What effect does the music have on you? Does in conjure up an image? Or an emotional feeling? Does it tell you a story? This can be the piece as a whole, or a specific part or parts. What was your favorite part? What was your least favorite part? Do you have any comments or critiques on technique, e.g. harmony, melody writing, counterpoint, orchestration, voice-leading, etc.? How do you feel about the overall form? Is it effective? Do any of the parts seem impractical to you? I tried to challenge myself with this piece and as a result I wonder if I pushed the expectations of some of the instruments too far. For example, I included "optional" Eb and D clarinet parts for some of the higher clarinet parts, but I'm not sure if it was necessary. I'm also not sure if some of the string technique in Theme A and the "Infernal" section is practical or not. Do any clarinet players or string players have any insight? Do you have any comments of the quality of the performance in the audio file? I really want this to be a decent representation of how the piece would sound if it were performed live, since it is unlikely it ever will be. For example "I would have liked xxx instrument to be louder/softer here" or "The xxx instrument technique sounds sloppy here and could use some cleaning up" or "The balance in the xxx section was all out of proportion" I have included a score and welcome any constructive feedback on its presentation. And if you're like me it's a lot more fun to follow along with the score. Do you think "Sinfonietta" is a appropriate designation, or would you call it something else? If you could name this piece, what would you name it? Thanks for listening and I hope you enjoy! As always, if you liked something I did and want me to explain how I did it I am happy to do so. Or if you just want to tell me it's awful that's fine too. gmm
    9 points
  2. Here my new classic rondo in ABACABA' form. A has more a melody and accopaniment texture, while B and C have more counterpoint texture with some rythm and interval interplay violin-cello. Hope you enjoy it. Any comments are more than wellcome.
    7 points
  3. Good evening everyone! I'm excited to present a new piece I have been working on for the last month or so: Scherzo for Orchestra. I deliberately wrote this fairly quickly, with the intent to write something fun, conventional, and maybe even a little whimsical. I'm interested in any and all constructive feedback. I had a few goals in mind as I composed this, feel free to critique my success or failure on these: Write something a little more informal and accessible, with catchy, memorable themes. Start with a very simple idea, and build the entire piece off of it. The four bar opening phrase in the 2nd violins popped into my head one day, so I tried to build the entire piece off of this motive and transformations of this motive. Practice having multiple contrapuntal lines. Some details on this are below. Write something that would work as a middle movement of a larger work, such as a symphony. Write something under 10 minutes, since I might decide to enter it into a competition and a lot of competitions have a 10 minute time limit. The piece is loosely structured in a three-part rondo form (ABACABA). (0:00 - 1:32) - A Theme - A very quick staccato theme in C# minor. I based this on the idea of a fugue, with each voice entering at different scale degrees, before they all come together to cadence. I'm sure I broke a few rules on the counterpoint, but it got the job done. The section ends on the V (G# minor) (1:32 - 2:21) - B Theme - A soaring theme in E major, then restated in Db major. Here I tried to have descending chromatic lines to complement the ascending melody. (2:21 - 3:04) - A Theme - Restatement of the second half of the A Theme, this time ending on I (C# minor) (3:04 - 6:31) - C Theme - A waltz in D major that begins very timid, gradually gains confidence, and goes out with a bang. (6:31 - 8:01) - A Theme - Restatement of the A Theme, this time in D minor, with the orchestration modified slightly. I threw in a couple unprepared modulations up a half step, to Eb minor and E minor. As a result I may have broken a "rule" here since I ended the section on B minor (which is not the V of D minor, the key I eventually return to). (8:01 - 8:49) - B Theme - Restatement of the B Theme, this time in Db major and Bb major. (8:49 - 9:37) - A Theme - The second half of the A Theme again, eventually returning to D minor to end the piece. As usual, I have an onslaught of questions I would like specific feedback on. Feel free to answer as many or as few as you wish: What effect does the music have on you? Does in conjure up an image? Or an emotional feeling? Does it tell you a story? This can be the piece as a whole, or a specific part or parts. What was your favorite part? What was your least favorite part? Do you have any comments or critiques on technique, e.g. harmony, melody writing, counterpoint, orchestration, voice-leading, etc.? How do you feel about the overall form? Is it effective? Do any of the parts seem impractical to you? It's a pretty fast piece with a lot of technique, so I'm curious if some of the parts are impractical. I don't mind them being difficult, I would only be concerned if they are borderline impossible. Do you have any comments of the quality of the performance in the audio file? I really want this to be a decent representation of how the piece would sound if it were performed live, since it is unlikely it ever will be. Feel free to put your "conductor hat" on and critique the "orchestra". I have included a score and welcome any constructive feedback on its presentation. And if you're like me it's a lot more fun to follow along with the score. Are there any composers this reminds you of, that I might enjoy listening to? Sound libraries: Spitfire Symphonic Orchestra and Spitfire Percussion VSL Trumpet (only for some of the lyrical trumpet melodies) VSL Violins (only to layer with the violins in Spitfire) Thanks for listening, I hope you enjoy! If you liked something I did and want me to explain how I did it, feel free to ask as well. -gmm
    7 points
  4. Hello! Here is a new piano sonata allegro movement that I've written during the pandemic. I'd welcome any feedback you might have. 🙂 Dan
    7 points
  5. IN A DIFFERENT WORLD YC Composer Competition - Summer, 2020 Thank you to all of the entrants for submitting their works. Everyone should be proud for finishing their pieces at such a high general standard of quality. And thank you also to my fellow judges for their work in this process as well. The competitions are one of the most engaging features on this forum, and help 'keep the blood flowing', so to speak, so I'm very pleased that this competition turned out to be so popular. And now, without further ado, I present the final scores from our competition. MEMBER VOTING: FIRST PLACE - Bassoon Concerto No. 2 by @Leonardo C. Núñez (22 points total) SECOND PLACE - Flight of the Fledgling by @Left Unexplained (13 points total) THIRD PLACE (TIED)* - A Dream's End by @Thatguy v2.0 (11 points total) THIRD PLACE (TIED)* - Kitichi by @Rodrigo Ruiz (11 points total) *I am listing A Dream's End higher because it had a higher number of second-place votes, rather than third-place votes. Each had the same number of first-place votes. TRADITIONAL JUDGING: FIRST PLACE - Bassoon Concerto No. 2 by @Leonardo C. Núñez (140.5 points out of 150 possible) SECOND PLACE - Hope by @Maggie L (128 points out of 150 possible) THIRD PLACE (TIED) - Symphonie No. 1, III. Adagio by @Gernt (122 points out of 150 possible) THIRD PLACE (TIED) - String Quartet in D Minor, Mvt. 4 by @Joshua Ng (122 points out of 150 possible) Congratulations to @Leonardo C. Núñez for winning both aspects of the competition!
    7 points
  6. The Ballade in E-flat minor was written in 2021. Though it is written for solo piano, I had intended to write it for piano and orchestra, and may make a version of it for this ensemble in the future. The piece is about 8 minutes long. I hope you all enjoy it 🙂
    6 points
  7. Thanks everybody, i love all of you ❤️
    6 points
  8. Hello, I will be posting the submissions for the Summer 2020 Competition as replies to this thread. I will send out a notice to all the entrants once all of the submissions have been uploaded. Each entry will be randomly assigned a letter (A, B, C, D, etc.). Thank you in advance for your patience, and congratulations to all of the entrants for completing your submissions.
    6 points
  9. A short violin tune. I tried to make it sound very-very dark this time.
    5 points
  10. 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 far. Here is below the score and the audio. Enjoy the music, and, please, tell me your opinion about this composition. STRUCTURE OF THE MOVEMENT : INTRODUCTION : M. 1-31 (Moderato, TEMPO I) : Orchestral introduction, statement of the first “theme” on cellos and violas. Dramatic crescendo until the piano entrance M 31-39 : brief piano cadenza allowing the listener to be more familiar with the main theme/material of the piece. Little arpeggios … EXPOSITION: M. 40 – 76 (Allegro) : This is the one ! After a short motif used later in the concerto (in the cello/bass part) statement of the THEME 1 A (violins parts) that as been stated in the introduction. Repeated in piano part m.57. The reappearance of theme 1A leads to a dramatic climax m.70 (being the continuity of 1A). M. 77 – 120 (Vivace) : THEME 1 B. Much faster, this theme consists of a repeated eight-notes pattern in the woods. The piano responds with an avalanche of sixteenth notes. Until m.120, strings are an accompaniment. Main motives are stated in the woods (such as the motif m99, flutes and oboes, it will appear later in the development). The pianist is showing is virtuosity in his modulating part and is assisting the orchestra. M17-20 : end the of first theme with a frenetic climb. M 120-127 : Transition to THEME 2. The piano part is quoting 1A and the clarinets are stating a thematic material of transition later used in the development. The rhythm seems to slow down allowing a quasi-cadenza in piano part (m127) leading to… M 128-150 (Andante) : THEME 2A. Lyrical theme (piano part) that appears 3 times, each one being richer in accompaniment and chord. The 3rd one is introduced by the clarinet material OF m120-127. M 150-169 : THEME 2B : consisting (mainly) of one quarter note and six descending quavers. Again, a virtuosic piano and a support orchestra merges and form a whole for this 2B. M 170-184 : Return of THEME 2A but in a heroic climax where the piano supports the orchestra with arpeggiated chords. Transition with big orchestra chord until… M. 185-194 : ENDING OF EXPOSITION : Theme 2A and 2B are combined but in a the minor key of C to allow the arrival of … DEVELOPMENT: M. 195 – 215 : A repetition of the orchestral introduction with a few small things arranged to lead to the development M. 215 – 250 : Basically THEME 1A is all over the place, dissected, disguised, modulated. Have fun trying to count how many times it appears, you will be wide of the mark lol (You’ll notice, by the way, the transition theme M247, clarinets). M. 251 : 266 : Same thing as m215-250 but with THEME 1 B. M. 267-280 : mish-mash of T1A and T1B leading to CADENZA: M 280-323 : The cadenza is divided in two parts each one being a recapture of T1A. One is aggressive and fast while the other must be played maestoso. M 323-337 (En ralentissant tempo T2) : THEME 2 A being stated in the form of a bucolic love letter leading to M. 339 – 350 (Tempo I) : orchestral introduction allows the arrival of : RECAPITULATION: M. 350 – 383 : THEME 1A is repeated with a long piano speech of with what I called earlier the “continuity of” 1A. M.384 – 404 : THEME 1B (modulations, few changes + new clarinet melody) + transition theme leading to M 405 – 417 : Small piano cadenza, this one could be improvised by the pianist ! Statement of THEME 2 A with big and dramatic piano chords helping the orchestra to achieve the tragic of the moment. M 418 – 421 : THEME 2 B faster and faster. CODA : M. 422 - END (Vivace) : Using of T1A with virtuosic piano passages and symbiosis between soloist and orchestra until the end.
    5 points
  11. Hello, Fuge a3 in c minor written for organ. North german style. Please tell me what you think.
    5 points
  12. Double fugue in gminor scored for 2x oboe, 2x bassoon in g minor. I think i will rearrange the fugue for two pianos... Written in the mid baroque style, so dont exptect those bach episodes 😉 Please telle me what you think. SimenN
    5 points
  13. I have written a quartet for strings on which I would like the honour of some of your criticisms. This work has sprouted from almost a year and a half of counterpoint study. It is similar to a fugue; that is, it does tend to have fugal aspects; however on the whole, this is mostly a work of counterpoint with many interesting hidden ideas embedded within it. I can understand if you are unable to listen to the entire work, as it is almost 16 minutes long; however, if you give me some feedback on even a single contrapuntal passage, I would be greatly indebted to you. Thank you for your time and I dearly hope you enjoy this work. On a side note, this recording that I have here does not take into consideration single note dynamics which is indeed frustrating; however, it is the only soundfont I could find that effectively does some of the counterpoint justice (that is, so it is not too muddy sounding).
    5 points
  14. METAMORPHOSIS YC Composer Competition - Autumn, 2020 I. Topic: All entrants must compose a unique piece that is based on the same melody. The fragment chosen by member vote is: Takashi Yoshimatsu, "Waltz of Rainbow Colored Roses" - https://youtu.be/3qihgGETXwc ***To be clear, entrants do not have to use the whole piece as the basis for their compositions, only the short fragment identified in the member voting post and now attached to this post. *** While a traditional "theme and variations" form is not required, judges will be looking for effective treatment and development of the chosen theme as a central aspect of each composition. The theme itself will be chosen by the judges from the nominated melodies submitted privately to the judges by entrants and members of the YC community at large. II. Eligibility: 1. You must be a member of the Young Composers forum in order to enter. Sign ups will be in the comments below for JUDGE or ENTRANT. Comment "I'd like to enter as ____" for entry. 2. There will again be no limits regarding instrumentation. There is no minimum length, but there is a maximum length of 15 minutes. 3. You must have some sort of audio rendition accompanying your work. 4. You must present a score of your music for judging. 5. If you volunteer to be a judge, you may not enter as a contest participant. III. Scoring: Due to a lack of sufficient judges signing up for this competition, scoring will be by member voting only. ALL ENTRANTS: PLEASE MESSAGE ME, @Noah Brode, WITH AN MP3 AND PDF SCORE OF YOUR SUBMISSION TO BE POSTED ANONYMOUSLY ON THE APPROPRIATE FORUM. ONCE ALL OF THE SUBMISSIONS ARE POSTED, YOU WILL HAVE ROUGHLY TWO WEEKS (SEE TIMELINE BELOW) TO PRIVATELY MESSAGE ME YOUR FIRST, SECOND, AND THIRD-PLACE CHOICES FOR THE COMPETITION (OBVIOUSLY NOT INCLUDING YOUR OWN SUBMISSION). I WILL TALLY UP THE SCORES AND RELEASE THE RESULTS WITHIN A FEW DAYS OF THE FINAL DEADLINE (DEC. 27). THESE WILL BE THE ONLY SCORES OF THE COMPETITION; THE WINNER OF THE MEMBER VOTING PROCESS WILL BE THE WINNER OF THE COMPETITION. NOTICE THAT ALL OF THE DEADLINES HAVE BEEN PUSHED BACK BY ROUGHLY ONE WEEK. Member Voting: Once submissions have been entered, members will get three votes in which to vote on each other's pieces. These votes are tiered, meaning you will vote for your favorite entry, your second favorite entry, and your third favorite entry. The criteria or reasons for your vote need not be explained, though participants are highly encouraged to leave reviews on each other's works regardless. Members will send their first, second, and third choice picks to the judges after the submission deadline. Failure to do so will result in disqualification. Traditional Judging: 1. How well is the central process of the piece executed? How effective is the progression, or in the case of a lack of a linear one, how well is it represented? Most importantly, how internally consistent is the piece in the construction of a narrative? /15 2. How well is the piece orchestrated? Do instrumental orchestration (range, ability, etc.) and voice leading seem to be appropriate? How effective is the treatment of the ensemble? /15 3. How well integrated is the fragment to the composition as a whole? How central is the use of the fragment in the construction of the piece? /15 4. How clear is the score and audio of the submission? /5 5. A brief written segment (1-2 sentences) is required to explain the premise of the piece, if any. /0 Entrants whose primary language is not English are encouraged still to participate, as the diction and syntax themselves will not be judged. Timeline: Members will submit entries by first submitting their piece to the judges, both the score and the audio file. Each entry will then be posted by a judge or judges. SUBMISSION DEADLINE FOR ENTRANTS: FRIDAY, DECEMBER 11, 11:59 PST JUDGING DEADLINE FOR ENTRANTS: SUNDAY, DECEMBER 27, 11:59 PST Current Entrants: @Bradley Scarff @Left Unexplained @caters @PaperComposer @Joshua Ng @Hendrik Meniere @bkho @Aled Edwards @Ivan1791 (backup judge) @zhenkang @Leonardo C. Núñez @Thatguy v2.0 @luderart Current Judges: @Tónskáld
    5 points
  15. Hello, all! Here's my most recent composition. This is a more sonorous piano piece, less "dissonant" perhaps, though it's still based on the symmetrical scales of the prelude I posted recently. The title means "silver nocturne," and is intended to be liquid and smooth and placid, like rippling moonlight on a quiet lake. It will likely become incorporated as a "slow" movement into a larger work. The work features motivic, rather than thematic, development; you will notice the same motif weave in and out of the sections. Please let me know what you think of this. I'd love feedback of any kind! (This is a live recording so I do apologize for some of the choppiness in advance.) Happy listening!
    5 points
  16. My first competition piece and first score. I stayed on a specific point and re used motives for the first time. Would love to hear what you think (also, I really appreciate the member voting, thank you so much!)
    5 points
  17. @Tónskáld @Monarcheon @Noah Brode Thank you all for making this possible. 🙂
    5 points
  18. I had a creativity outburst at the beginning of the pandemic, and wrote many pieces. In this it's a fanfare following a late-Romantic, slightly cinematic aesthetic, reminiscent of Korngold and Richard Strauss. When I posted this piece in another place, a player of the Sophia's Vereeniging symphonic band of the Netherlands asked me if they could play the piece, and I said that of course. There've been some rehearsals, but they had to be postponed after yet another spike in Coronavirus cases. The score can be seen here: https://albertdelaf.com/op13_en/
    4 points
  19. A blues-rock tune I composed inspired by classic bands like ZZTop as well as 70s/80s American car chase movies. Let me know what you think! A friend of mine from a local metal band recorded the electric guitar parts.
    4 points
  20. Hello! I decided to write a classical mini-little piano sonatina allegro movement! I didn't use any dice or try to make the music overly complicated or anything. I was going for just a pure easy-listening simplicity and ease of playing. It's not exactly sonata form as there's scarcely a development here. There are three themes though, which come back in the home key in the recapitulation. Let me know what you think and I hope you enjoy!
    4 points
  21. Hi everyone, I'm in the process of uploading as much of my music as I can on youtube, cuz what good does it do sitting around in my computer huh? Anyway, here's my second piano sonata as it was performed in 2016. It's divided into 3 movements and all three movements are following the typical sonata-form conventions to some degree or another. It took around 4 months to write the score and around 6 months in rehearsal time to get it performed to an acceptable degree. The third movement is specially challenging, but I think it sounds cool. Either way, have fun.
    4 points
  22. Good evening everyone, I had the good fortune of having my piano tuned for the first time in well over a year a couple of days ago. I'd almost forgotten how nice it could sound and feel! Anyways, given the wild hot/cold weather we've been having here it'll probably only last a week before keys start sticking and the action starts creaking again, so I thought I'd better take advantage of this little window of piano bliss. Here's a link to a collection of five piano character pieces. Written in late 2019, it's my most recent work, and actually the only thing I've written in the past four years or so. As one would expect from the title, these are melody-oriented and not formally complex. Hope you enjoy!
    4 points
  23. The Elegy in F minor was written in 2020. It is my second duet, since my Fantasy in G minor for violin and piano, Op. 4. The piece is about 14 minutes long, and contains 2 themes. This performance is a remote recording, and the cellist playing is JonathanCello from Fiverr, who recorded a few of my previous chamber works. https://www.fiverr.com/jonathancello/do-session-cellist-for-your-musical-project?context_referrer=user_page&ref_ctx_id=d3f44413-d69e-4a0f-8b73-8ace49eedd1c&pckg_id=1&pos=1 As always, I hope you all enjoy 🙂
    4 points
  24. Hi. So this is a cello sonata. I wrote this between 2017 and 2018 and it was premiered in 2019. The recording is not the super bestest ever, but it does the job. This is the 4th long-form "sonata" type thing I wrote and it was mostly based around the idea of augmented chords within a kind of neo-romantic style.
    4 points
  25. Thanks a lot for all your help comments and kind remarks. First I was hesitant about releasing the song but when I heard your comments, especially Papagenos about the melody (which I will never forget), I decided to have it recorded. What I realised here was that the oboe-melody that I actually wrote 2013 was so low in register that I could rather had written it for English horn, since it's much easier to keep the intonation in higher register. This wednesday we released it on YouTube. Enjoy:
    4 points
  26. Good evening everyone! I'm ready to present a new piece I have been working on for the last couple of months or so: Adagio for Orchestra. It’s a relatively short piece, not as large in scope as some of my other works I have posted here. Admittedly I’ve had a little bit of writer’s block recently, so I toned things back quite a bit and instead focused on simple themes and experimenting with an expanded orchestra, including Euphonium and Saxophone with the usual instruments. I'm interested in any and all constructive feedback. I had a few goals in mind as I composed this, feel free to chime in on how well I accomplished them: Focus on simple, memorable themes. Experiment with orchestration, using auxiliary instruments to create some unique textures. Integrate Euphonium and Saxophone with the rest of the orchestra. Write something that would work as a middle movement of a larger work, such as a symphony. The piece is loosely structured in a binary form with repeat (ABAB). (0:00 - 1:09) – Introduction. Euphonium solo that is passed between and elaborated by other members of the winds, punctuated by sweeping string lines. Most of the thematic material from the piece is extracted from this opening solo. (1:09 – 2:41) – A Theme. A melancholy dirge carried by a bell-like ostinato played by harp, celesta, and piano, with rustling tremolo in the strings and an eerie chant in the winds. (2:41 – 5:00) – B Theme. A floating theme first presented by the oboe then embellished by the strings to the first big outburst of the piece. Material from the A Theme is elaborated here, then the strings carry the oboe theme to a new momentary high, before settling back into the recap. (5:00 – 7:11) – A Theme recap. The dirge returns, this time building to a euphoric climax, then drifting away into the upper register of the woodwinds and strings. (7:11 – 8:13) – B Theme recap. This time the clarinet sings the theme. I experimented with some polytonality/polymodality/whatever-you-want-to-call-it with the chords in the horns, trumpets, flutes, keyboards, and harp. I’m curious how well I pulled this off. (8:13 – 8:38) – Coda. Return of the Euphonium solo, this time drifting off into silence to end the piece. As usual, I have few specific questions I would like specific feedback on. Feel free to answer as many or as few as you wish: What effect does the music have on you? Does in conjure up an image? Or an emotional feeling? Does it tell you a story? This can be the piece as a whole, or a specific part or parts. What was your favorite part? What was your least favorite part? Do you have any comments or critiques on technique, e.g. harmony, melody writing, counterpoint, orchestration, voice-leading, etc.? How do you feel about the overall form? Is it effective? How well do you think the euphonium and saxophone are integrated with the rest of the orchestra? How do you feel about the harmony in the B theme recap (the nondiatonic chords against the melody in the clarinet)? Is it effective? Do you have any comments of the quality of the performance in the audio file? I really want this to be a decent representation of how the piece would sound if it were performed live, since it is unlikely it ever will be. Feel free to put your "conductor hat" on and critique the "orchestra". I have included a score and welcome any constructive feedback on its presentation. And if you're like me it's a lot more fun to follow along with the score. Are there any composers this reminds you of, that I might enjoy listening to? Sound libraries: Spitfire Symphonic Orchestra and Spitfire Percussion VSL – Eb clarinet, Bass clarinet (in the intro only), Alto sax, Bassoon (for the solo only), Bb Trumpet (for the solos only, and some reinforcement in louder sections), Euphonium, Piano Thanks for listening, I hope you enjoy! If you liked something I did and want me to explain how I did it, feel free to ask as well. -gmm
    4 points
  27. Hi everyone! I've been thinking about writing some stuff for fantasy inspired settings (like WoW, Skyrim etc.). I've come up with these ideas and there were quite a few of them, and thus I decided to put them all together in one suite. Any feedback is appreciated!
    4 points
  28. Yeah, I'm gonna stir the pot as I always do in these sort of questions but it's just being honest The goal of a composition is the same of all art: To create something beautiful and great. Rivaling nature and worthy of a God. A secondary goal would be to musically embody some sort of thematic concept or environment. For example, if my goal is to write a sweeping, romantic desert piece, but it fails to convince the listener of this idea, then it has failed in this regard. It's only excusable to fail at the secondary goal provided your not writing to accompany a film or something, but never the first. Everyone who knows me knows that I not only don't accept, but am openly hostile to modernist conceptions of music, art and architecture which instead argue that the goal of these things is to "say something"; i.e., propagandize. Abstract conceptualism which uses political or philosophical "meaning" allegedly reflected by the piece as being more important than the piece itself and certainly more than the actual quality or aesthetics since those things are rejected as "oppressive" by modernists. Which leads me to... Because they're lying. What they were hoping for is that you would gush over their work, but instead pointed out flaws with it. Why do they lash out? Simple, and this is the most taboo subject in the world right now: They're totally brainwashed by the "equality" religion. They simply cannot accept that they are not as good as someone else in some regard. Everywhere you go, at least in the West today, everyone believes in "equality" in all things and people and that everyone is a blank-slate individual all equally-capable. People who have not been indoctrinated by this simply do not believe it. It is not an organic belief. Which is why no person who hasn't been indoctrinated by it genuinely believes that Kandinsky was good a painter as H.J. Draper. When someone gets mad at you pointing out that their melody is incoherent, doesn't work with their chord choices, and the lines are too stale because of lack of vibrato or whatever, the reason they are made is because you have claimed that their piece is inferior to others. That they are not "equal". and you know what? People who are superior, and know that they are, tend to be the most humble and helpful. Musicians and composers who were and are better than I, were only ever helpful to me but every guy making avant-garde noise music that sounded dated in '95 is SURE that I'm a d*ck who doesn't know what he's talking about when I say that music that sounds musical is indeed better than music that doesn't. I have never had a beautiful woman, or attractive people in general be rude to me — but every wicked witch of the west happened to also look like one...and insist they should be "models" too. I think you get the idea. It's the people who don't believe in equality that allow themselves to become the best can be at any given thing, because if you believe everything is equal by default, then you do not believe there is room for improvement...and improve they never shall.
    4 points
  29. Hello everyone, Once again, it has been a long time since I've posted anything here. Over the past year, I have been recording my chamber works using the remote recording technique (where the musicians involved record their parts separately), and have just finished recording my Piano Quartet no. 2 in G minor in this manner. I have already posted a live recording of the second movement here (https://www.youngcomposers.com/t38945/piano-quartet-no-2-op-10-mvt-2/), but the quality was not that great. Here, the quality is significantly better, and more importantly, the piece is complete! The Piano Quartet no. 2 in G minor, Op. 10 was written between 2019 and 2020, 3 years after the Piano Quartet no. 1 in B-flat major, Op. 3. It is my longest chamber work, lasting roughly 32 minutes, and has 3 movements. It was actually written concurrently with the Lacrimosa for piano quartet, Op. 11, hence the same orchestration. The whole piano quartet is based entirely on 2 distinct themes, which provide the melodic foundations of each movement. The 3 movements are as follows: Movement 1. - Andante misterioso - Moderato patetico (G minor) Movement 2. - Adagietto - Andante (C major) Movement 3. - Larghetto - Allegro grazioso (G minor-major) I would like to give a huge thanks to everyone who helped me bring this recording project to fruition. Their performances and services were phenomenal, and I could not have done this without them! The performers are as follows: - Javier Orman, violin (Mvts. 1, 2, and 3) https://www.javierorman.com/ - Dima Ratush, viola (Mvt. 2) - JonathanCello, cello/viola lines played on cello (Mvts. 1 and 3) https://www.fiverr.com/jonathancello/do-session-cellist-for-your-musical-project?utm_campaign=gigs_show&utm_medium=shared&utm_source=copy_link&utm_term=engey - Avigail Arad, cello (Mvt. 2) https://www.fiverr.com/avigailarad/teach-you-how-to-play-the-cello?context_referrer=user_page&ref_ctx_id=442e84e2-4238-452e-9737-c8c33da05bd5&pckg_id=1&pos=1 - Myself, piano (Mvts. 1, 2, and 3) Here are the recordings of all the movements: Here is the original video of the second movement: As always, I hope you all enjoy. 🙂
    4 points
  30. Fantasia i g minor. Fantasia for organ in the key of g minor. Multiple subjects and fugesubjects. Ps: The piece has not been editet yet, so there are som mistenkes. Both intentional and unintentional 🙂 Please tell me what you think SimenN
    4 points
  31. Yesterday I was hearing some Beethoven sonatas and I got inspired to write that short piece. It has a ABA' form. A in EbM, B in Ebm and quite contrasting in character. A' is a repetition of A but with triplet accompaniment instead of eighth notes. I have two questions: No idea about the name. Any ideas? Are there parallel 5ths on mesures 73-74? It looks like, but the passing note G creates a sense of different harmony, though it's in a weak beat. I could change the "tenor" line to avoid that, but I wanted to have the same notes before the deceptive cadence as on mesure 77 in the final cadence. Otherwise, being a piano piece I don't think those 5ths are as evident as for human voices. What do you think?
    4 points
  32. Here is my first symphony. I wrote it last month in the style of second half of XVIII centuries. I analize some Haydn and Mozart early symphonies to grab some ideas and make it coherent with that period, regarding form, time signatures, tempos and so on. It has four movements: Adagio-Allegro (4/4) Andante (2/4) Minuet (3/4) Presto (3/8) Duration: 20-21 minutes Adagio-Allegro Introduction in Dm->Am->Dm (Adagio). Allegro in sonata form theme A in DM theme B in AM. Development: first section based in theme A, second section based on a combination of A and B. Andante With lyrical character and the melody and countermelodies moving all through the wind section. It has a ternary ABA form. A in the subdominant key GM and B in Am, motif derivated from A, but contrasting in texture and key. Minuet Minuet in DM Trio in GM The trio section is the only part of a symphony I took from one of my previous compositions. I rearranged and adapted a Minuet for piano a wrote a few months ago and posted on the forum. Presto Rondo form AABA'CABDA A in DM B in AM A' in Dm C in Dm After C, A appears in de subdominant key (GM) and B on the tonic (DM). D modulating DM->Dm->Am->Dm. C and D section close with and inversion of the opining A motiv inverted and aumented played in unison. A in the tonic closes the movement. The last movement is the one I found more difficult to write, because of the form. Any feedback either positive, negative or constructive are welcome.
    4 points
  33. Thanks for everyone who voted for my piece in the competition, if people want to see it again or say something about it you can do that here. Have a nice day 🙂
    4 points
  34. Awesome job everyone! My hope in these things are that the added weight of competition could bring out the best in all of us, especially with the isolation. I encourage all who participated to post your pieces as normal, I'd love to talk shop with some of you regarding your compositions. Well done Leonardo!
    4 points
  35. My thanks to @Noah Brode for taking the brunt of the workload off of my shoulders and successfully bringing another competition to its close. All entrants should be proud of their work and similarly pleased that your contribution is a part of all of our histories alike. An extra congratulations to those who consistently scored highly; having a panel of judges is certainly more consistent and enticing than one, and I hope we as judges along with @Tónskáld have done our part to ensure that your music was thoughtfully considered. Until next time, all.
    4 points
  36. 4 points
  37. Enjoy this mental experiment.
    4 points
  38. SUBMISSION F : Bassoon Concerto No. 2 So I wrote a bassoon concerto for this competition, meanly because I myself and my father are bassoonists so i know pretty well how to write for bassoon. I will probably write more movements to it, so see this as a 1st movement :). This piece is a special piece to me, it is a very challenging piece with a lot of long jumps and notes in a short period of time. It is about a lot of deep things that have happened and thoughts that i have had these couple of months. I had my first real depressive episode that lasted 2 months in which it was so difficult to even write a single note (at the end of that episode i did write a bit and it is probably the most "real" music i have ever written in my life). Afterwards I had a real "high" (bipolar?). My mom got diagnosed with cancer 2 months ago and it kills me inside to see her in the state she is in. So that is really the beginning of this piece, the introduction is probably more the sad side of me, but quickly the piece becomes something more than that. It becomes a piece about how i survived what i did, i don't think i really have to explain to much. Go listen to it and please let me know what you thought 🙂
    4 points
  39. Sheet music seemed ok to me given it's an example. You can trim the bars at the end when ready. Point is, composing melody is so personal a thing that it's difficult to give feedback. Always easier if they have a context/a background against which they're set. I found them rather choppy and angular but a) that's just me, b) in another form they might transform to something very lyrical. I mean, just changing #2 to a legato and perhaps altering rhythm and stress makes quite a difference in mood. 'Choppy' might be what you want (a sprightly ballet scene or something) in which case fine. It might still be worth looking at traditional melody writing (if you haven't already) just to broaden your repertoire. Traditionally you'd have, say, two balanced parts, the first ending on some sort of imperfect cadence, the second on a perfect one. Also worth learning a bit about modulation as melodies usually lead somewhere which might be to a new episode/melody in a different key. Likewise you might have a surprise modulation in a melody but need to know how to get back to the home key. These things take a bit of practice across time but they come in the end. Sorry if you already know this but in case others don't.... Usually, combining melodies counts as 'development' which often needs movement around different keys. (for those who want to explore this from scratch have a look at almost any Mozart Sonata first movement or Eine Kleine. There's a further point... writing for a melody instrument other than keyboard, the harmony is implied in the melody. You seem aware of this but it's worth experimenting with greater variety in a tune like this. For example, bar 3, shift the whole thing up a minor 3rd (to A flat) then back down in bar 4 to get back in the home key. Can you forgive me quoting your tune but changed thus, as an example? Must admit I've never thought about compositional goals. It's been about self-expression above and beyond the capabilities of words and, if I get the chance, make a little money out of it with some commercial fragments or at least a decent dinner and a few beers if working with someone else for nothing! (which has little to do with self-expression but what the 'client' wants!) Cheers.
    3 points
  40. I composed this piece last year, but I hope you enjoy. The piece is relatively straight-forward and uncomplicated, and it is about dusk (gloaming).
    3 points
  41. As usual, not that I try to but it usually just shakes out this way, I'm gonna have the opinion that induces the most rage. So before we begin Okay let's do this. Firstly, I'm not actually certain that what you describe — composers and musicians not showing up to concerts — really matters. Actually, I would say it's often better if they don't. I, for one, don't actually make music for musicians to listen to; I just want normal people to like it and listen to it. But I find getting musicians to listen to new music is no problem. On these forums or whatever, I can usually expect to get a few dozen plays or something. On YouTube, some of my tracks wound up getting into the recommended feeds of normies and skyrocketed to tens of thousands of plays and hundreds of likes. I am always glad when musicians, especially ones much better than I am support what I do and like it, but it means a lot more to me when the average person, who just got off their boring, soul-crushing 9-5, stumbled upon my music, thought it was freaking awesome, and shared it with their friends because it brightened their day that much. Maybe, it even inspired them to get into composing themselves and that's even better. Then, a beginner reaches out to me via forums, email, IRL, whatever and is asking me for advice on their own stuff and how to do something. That's also humbling and good and it's actually gotten to be a bit too much this past year (which is why I'm making some online courses and prob gonna offer some skype lessons soon) too keep up with. All of that, in my opinion, is far better than musicians showing up. I played in rock bands and let me tell you something: The brutal reality of 99% of live music today falls under two categories • It totally sucks. Standards are very low. I can't tell you how many years it took before I could get to jam with a band that could actually play IN TIME with each other and would show up. I played alongside a lot of bands that just friggin' sucked, dude. They played way too loudly, too much distortion, singer couldn't sing, out of time, etc. Then, after the show they'd come up to us and be like "Hey, you guys were awesome, man!" and we'd say "Thank you" and then were always like waiting for us to say they were great too and looked disappointed when it didn't happen. It's like, well bro...I'm not gonna lie to your face and say you were amazing when you clearly bungled the song, don't know how to write a coherent piece, and couldn't even play in time with each other. If someone came up to us and said "Hey, you guys kinda sucked tonight", we were willing to be like "Yeah, it wasn't as good as it should have been". Most musicians don't have that kind of self-reflection, so what happened at virtually all of these shows, is that the "audience" was 100% "musicians". Just guys in bands that suck as bad as 9/10 of the other bands. It's a total echo chamber and "trophy-for-everyone" fest. People don't come because the bands aren't worth seeing. • Like with art galleries, there are many talented people out there. They don't get promoted though. If you have some sort of social justice message to sell, you can just literally tape a banana to a wall and they'll promote the crap out of it for purely political reasons. The guy who can actually sculpt, compose, paint, etc? Nope. Not interested. The industry is full of gatekeepers/politicians. This then harms the actually-good composers when they do get promoted, because most people just assume it's more modern-art garbage. Now I will say, I'm not entirely sure what it's like in local orchestral or chamber music "scenes" as per point 1, but I know it's true for point 2. The local orchestras near me almost never play anything by new composers and the few times they seemingly have, it was pretty much not even advertised so I never would've known about it anyway. Last point • You have a niche category of music Most people today, including musicians, outside of a film/game context, do not have any interest in orchestral music. Even I can honestly say I don't feel compelled to go watch a string quartet + winds duo. People want to have fun at concerts as much as they do hear the music. People want to dance, they want lights, they stage antics and performance, they want the social aspects of it as well as the music. Sitting silently in a cathedral or hall to listen to a cellist saw away might sound nice and have a nice atmosphere to it, but it's just not something most people are going to make an afternoon/evening out of, or certainly pay for, when there are (at least pre-2020) so many other more-fun things they can be doing. Historically, the orchestra was generally the music of rich people and to a lesser extent, churches. For the peasants, the unwashed masses, the normal people — the fiddler on the street or at your spring festival and drums is what they know as music and they'd have much rather been doing that than going to sit quietly in church and listen to a choir sing ANY piece old or new. In other words? Musicians aren't showing up to local concerts? Good. &*#@ 'em. If it's mostly musicians showing up, it means that the music is pretty bad. If you have like 40 normal people who just want to listen to music showing up to an orchestral/chamber music concert in 2021? You're doing very well, I'd say.
    3 points
  42. Hi all, It's been a while since I posted anything at YC. I had hoped by now that I'd have something live to share, but the pandemic has greatly curtailed performing activities here. I'm generally reluctant to post digital versions of my compositions and am willing to wait a long time for a live recording. But this piece has now been sitting in my drawer for eight years, and with no realistic prospect of having it performed any time soon, I don't think there's a point in holding off any longer. I prefer German 19th-century music styles, generally leaning to the conservative side of the War or the Romantics. I also believe we are at our best when we write the sort of music we want to hear ourselves, and so that is what you can expect of this work. It's in four movements, following the typical sonata form plan. The provided audio includes repeats of the expositions for the first and final movements. I have mixed feelings about this convention and often don't repeat my expositions, but when I listen to the movements without the repeated exposition, I personally find the pacing is negatively affected. That said, if you hate repeated expositions, start movement 1 at 3:20 and movement 4 at 1:55. Forms: mvt 1; Sonata-Allegro mvt 2: Rondo (ABABA) mvt 3: Scherzo and Trio mtv 4: Sonata-Allegro As most of you know, I am not comfortable sharing my scores online. I apologize to those who would like to see it. Hope you enjoy!
    3 points
  43. It makes a lot of sense if you think about it. In classical days, singers read off single sheet voice parts. The tenors just had the tenor part, no indication of what anyone else was doing, the basses just had the bass part, and likely all the basses were looking over each other's shoulders at a single copy by the light of one flickering candle... Think of how difficult it is to sight read if all you have is your part, without being able to relate it to the rest of what's going on. If you play the violin, you put your finger in the right place on the right string and you reliably get a certain note, but if you are a singer, you have to pluck your note out of thin air. It's really hard to do accurately without being able to see the complete structure of the harmony you are a part of unless you happen to have perfect pitch, which is a rare gift. Modern sheet music always gives singers all the choral parts together plus a reduction of any instrumental parts. We're in the age of modern printing. It's cheap and easy to do. Classical period's solution to save time laboriously copying notes onto handwritten sheets was to have the brass double the singers so they couldn't get lost, and to strictly enforce voice leading rules so that parts tended to move by predictable stepwise motion as much as possible, rather than by leaps, which people are more likely to misjudge. It was sheer self-preservation on the point of composers. The alternative was a train wreck every time you premiered a new piece. It's not like singers could go out and listen to a recording of the thing before they tried to sing it either.
    3 points
  44. Indeed, Luis! "Brass... also reproduce choral writing better than woodwind; in much early music, brass, especially trombones, simply double the voices."
    3 points
  45. Hi everyone! I just found out about this forum and I knew I just had to join. This one's a few months old now, but I am quite happy about it (as a piece more than as a fugue). I would appreciate any feedback, as well as suggestions, criticism, anything really. Thank you all!Double Fugue in C Minor.pdf Double Fugue in C Minor.mp3
    3 points
  46. You shouldn't give up on music composition. Why would you if it's who you are? Are you giving up on yourself? Who cares how much knowledge someone else has, there will always be someone who knows more than you about music. That in no way should deter you from really living if you have found who you are as a person. When I made the decision for music to be my career, my dad was pretty disappointed. He didn't talk to me for a while, and when he finally did, he only told me that artists will suffer. I knew he was right, and I knew he said that because I excelled in school and could have chosen an easier path to success. But I knew who I was, and only you really know that. Of course it absolutely helps to have a leg up with tutors. I teach private guitar/piano lessons for a living (I would be performing for supplemental income, but well, you know, Covid in the U.S..................), and sometimes I'm just amazed at what they're learning at early ages. But a lot of them are ungrateful rich kids, and don't have the passion you have. And honestly, I think the passion for composition is the only fuel you could have to move forward, no matter where you're at with your music education. Go for something unique in your writing. Be you. Sure you could post another pastiche form that composers 200 years ago did way better than you might ever do, you could adhere to a common practice harmony and study Bach all your life. You might attain a position at a university, teaching the same shiit that a million others do when you could just buy an 18th century counterpoint book. Sure, learn from that, but keep going forward. The evolution of music stems from hearing what the world around you has done and is doing, and putting the Keaton Hoy spin on it. The thing is, you'll never know it all, and neither will the ones who had an advantage over you with earlier lessons. You've completed AP theory, I'd say that's a one up over some people who are applying against you. I'd focus on finding your musical voice, absorbing all you've learned and molding it into what you want to give this world. Keep in mind, we live in the information age. It's 2020, dude. I don't know what kind of music you write, but cater it towards the age in which you live and I guarantee with perseverance and lots and lots and LOTS of HARD WORK, you will find success as a composer. No one is going to copy your work. And plus, when you post a written or audio form of your music online, it is automatically a copyright. I'd say post your music for peer review if you're trying to put together a portfolio. There are tons of wonderful people here that give great reviews and constructive insight to members works FOR FREE. Take advantage of that! It's truly a humble community, and being here off and on for years has helped keep my inspiration alive. Oh, and welcome! 😄
    3 points
  47. Possibly, but I was thinking it could be a bit more open-ended than a strict theme-and-variations piece (which we did as a competition theme a few years ago, except in that one, everyone chose their own theme). Like composers could feel free to add themes of their own to the music, and use the provided melody / fragment as a starting point. @Ivan1791 also mentioned a competition based on the seasons. I can add that topic to the list, if there are no objections. I'm also with you on the question of the ensemble. I don't think it is a great idea in general to put specific restrictions on instrumentation for YC competitions. Some composers might feel more comfortable writing for solo piano or chamber ensemble than they would for a full orchestra, and for others, the opposite might be true. I think we could attract more entrants if we keep the instrumentation open-ended.
    3 points
  48. This is a draft of a piece I just finished. I was inspired by looking at the stars the other night. This is why I added so many high sixteenth notes; they reminded me of twinkling stars. I also added a short variation of Twinkle Twinkle Little Star in the beginning of page 2. As for the name, it’s a reference to when you wish on a shooting star. I really need advice on how to make this better and longer in the final version. I need to lengthen it by 2 minutes and I have some ideas but I want to hear other people’s ideas. Thanks.
    3 points
  49. 3 points
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