jsands

Thanks, pateceramics, that's really good advice! It's nice to know that other people get these problems and have solutions.

Recently I performed at two concerts, a general school one and one for some elderly folks from a local retirement home. Both times I played pieces that I have practiced, ruthlessly, for well over a year now; both times I barely managed to finish. My hands shook violently, which is an issue for a classical guitarist wrapping his left hand around a grade 8 piece, and the hand sweat was terrible. I left both concerts feeling shaken and utterly miserable, and my butchering of both pieces in front of audiences has somewhat undermined my confidence. In short, I suffered from stage fright, and quite badly. I was just wondering if anyone else here suffers from a problem like this, and whether they have any personal tips for coping during a performance. I was kinda hoping to do more concerts to considerably larger groups of people in future, so any support and advice would be much appreciated!

Development hates me, and I hate it. Same goes for form. Also, making it mean something: I know it's easier once you have experience and know lot's about composing, but I find it difficult to express myself in compositions or give them any purpose. I just like to write cool stuff, which is why I want to compose for film when I'm older.

To actually finish a bloody piece of music, instead of constantly creating 25 second stubs!

How about this?

For classical guitar, probably the Suite Espanol by Isaac Albeniz, especially Sevilla. Originally for piano, but it's a lot better on guitar. Good example: http://www.youtube.com/watch?v=xfRLMopjDKA

I'm afraid I'll have to join Piano18 in quitting, but only because I have another project in the works that I'd rather give my time to. .

Find a song that has something in it that you would like to emulate, like a riff or a chord sequence. Then use some basic theory to work out how it was done and why it sounds so good, then use the principle you just found to put together something of your own. The more songs you take apart this way, the more yo will learn what sounds 'good' and what sounds 'bad' on the guitar, and then it's a case of putting the 'good' things together. Well, it's not quite as simple as that, but it helps, trust me.

I don't think I've been in the game long enough to make a judgement, but Meretricious is probably my best: http://www.youngcomposers.com/music/820/meretricious/ The reason I'm on here is because I wanted it to be peer reviewed!

I would like to join too, if there's room!

I'll join in too, but I won't start until 've got the time, and, since I am notoriously slow at composing, I may have to drop out later i!f I don't think I can finish in time. The game is afoot!

Right, I'll put mine here so you can't miss it. http://www.youngcomposers.com/music/2619/nocturne-june-competition-entry/

Yeah, I thought of all of that just after I posted. Guess I was just a bit frustrated (and tired). Sorry!

It's going to be so much fun rewriting my romantic piece with a brand new melody because Tokke and the others couldn't take it. Lots of fun... Ah well, at least it gives me some more time to research/listen to romantic-style pieces.

Great! At least someone on here likes the idea of a challenging bit of composing! Honestly, guys, you can use this melody easily: it doesn't even have to be the focus! I'm pretty sure you could get away with putting it into, say, the Development of a sonata as an extra little theme. Or, you could just be chicken and drop out at the sight of an unusual melody.