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aMusicComposer

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aMusicComposer last won the day on January 8

aMusicComposer had the most liked content!

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About aMusicComposer

  • Rank
    Advanced Composer
  • Birthday 10/07/2004

Profile Information

  • Biography
    Hello! I am from Scotland. I play the piano, flute and violin and I have been composing for many years now.
  • Gender
    Male
  • Location
    Aberdeen, Scotland
  • Occupation
    School!
  • Interests
    Music. Nothing much else. Crafty stuff. Anything that involves me using my brain.
  • Favorite Composers
    Beethoven, Grieg, Tchaikovsky, Chopin, Rachmaninov
  • My Compositional Styles
    Classical
  • Notation Software/Sequencers
    MuseScore
  • Instruments Played
    Flute, Piano, Violin

Recent Profile Visitors

1,887 profile views
  1. aMusicComposer

    Tonal teachers in europe?

    I have to agree with you for this comment, but I think what @Theodore Servin is trying to say is that there's no point having a teacher who paints using the colour green when you want to know about red. I have met composers in workshops who write atonal/experimental music and although they were good at teaching me to develop my tonal style, they were more comfortable with other composers who write "modern" music.
  2. aMusicComposer

    Two Ländler from "Sundry Dances"

    Two lovely pieces! Ländler in D : You definitely capture an elegant spirit and the melodies flow well. I could imagine dancers easily! I think this one is a better Ländler. Ländler in G : The 1st theme is very nice but seems less danceable than the former. That said, it is more musically substantial and has greater potential concert value. From both of them, I can see your knowledge about dance music and the spirit behind the Ländler. I think they would be better if I was to see dancers, but you've done a nice job!
  3. aMusicComposer

    Variations on an Original Theme

    I have thought about recording this, and I have been practising, but it will take me a while to learn some of the more difficult variations. Speaking about harmony, there are places where I wasn't satisfied: • Bar 42-45 • Bar 72 • Bar 209-210 Also, the chord progression (that features throughout many variations) D,C,Fm but this sounds better when played by a real person! Thank you again for taking the time to comment 😀
  4. aMusicComposer

    Variations on an Original Theme

    @J. Lee Graham Thanks for looking at this again. I do agree with you that some harmonic changes could be better - I can hear some when I listen back, but it sounds better when I play it on a real piano. Perhaps this is the subtle variations of dynamics and tempo that cannot be given on a computer program?
  5. aMusicComposer

    Sonatina in A for Clarinet and Piano

    Like all your pieces, this is brilliant! I love the way you handle the relationship between the clarinet and piano. One of the things that I really love is how you appreciate the fact that the wind player needs to breathe, and your music's natural phrasing fits this requirement perfectly. Now, I only wish I was a clarinetist! Great job
  6. aMusicComposer

    Variations on an Original Theme

    Thank you @J. Lee Graham, @JBegley and @SergeOfArniVillage for responding. @J. Lee Graham Which bits do you feel that the harmony is not properly set up? @SergeOfArniVillage Thank you for this comment. Do you feel that having a link would benefit the flow? I was thinking about another variation to add in anyway.
  7. aMusicComposer

    Fantasia in E Minor

    Here is piece for alto saxophone and piano that I wrote to play with my sister. Any feedback would be appreciated!
  8. This is a very good start, as you are new to composition. One of the things that I look for in a piece is direction, and your music always seems to be going somewhere. However, I think there could be more flow. Some harmonic changes are quite abrupt. As a flute player, I can say that some of these notes are very low, and some may be impossible but I cannot tell just from listening. This is very nice - well done!
  9. aMusicComposer

    Concerto in C for Oboe and Orchestra

    Well done! Another brilliant piece from you. I too want to write an oboe concerto. Unfortunately, my flute teacher, who is a brilliant oboist, will be moving at the end of this month. I will not be able to give a finished project to her in person. The many melodies of this piece are wonderful. I think, as a woodwind player, the difficulty lies in fast scales which are more difficult to produce a clear sound on the oboe because of the double reed. High notes are difficult to play controlled and even. The 'frightful' trills in the second movement are actually one of the best moments, but because the oboe has been trill keys, they are having to change fingers completely. Thanks for sharing your music!
  10. aMusicComposer

    Stuck, and its a bit scary

    Being able to get ideas is great, and many people compose entirely by ear. All you need to be able to do is transfer the notes you are playing onto a manuscript sheet. Take a video recording and you can see what notes you are playing which can directly help you. This comes with practice, so keep working at it. Good Luck!
  11. aMusicComposer

    Piano Sonata in E-flat Major

    It's lovely. I love it! Well done, and thank you for sharing this.
  12. aMusicComposer

    Where now

    It is very nice. The only thing I would say is that the melody doesn't seem to have much direction. If you want an improvisatoty style, then go for it!
  13. aMusicComposer

    What makes Orchestras better?

    The thing that separates the groups that you talk about is down to many factors. Some of these are the depth of sound and range of colour. Adding winds adds heaps, even when they are only doubling the strings. About your practice tips: As I am still young (14) I can't over you solid steps, only my advice. Plan it like you would any other piece - I like to plan mine step be step - and think about what instruments you will use where. Doubling is not something that is thought about often, as beginning composers especially think it is too obvious. Remember, make the parts interesting, and don't just make the accompaniment long notes (unless you want that effect.) My final tip for you is to read Rimsky-Korsakov's Orchestration Manual, which you can find on IMSLP.
  14. Hi everyone, I am starting to plan my next symphony, for a standard orchestra. I am having trouble with knowing what difficulty to make the second violin parts. The 1st violins play semiquaver triplets, with 6 to a beat at 90MM (ish.) I have been told this is okay for 1st Violin, but should I give a part of this speed to the 2nd violin/viola? The other thing I thought of doing was dividing the sections, and having the other half play pizzicato on every quaver. Would doing this cause the strength and resonance of the strings to be lost under the winds?
  15. aMusicComposer

    Orchestration manuals?

    Hello all I am looking to improve my orchestration. So, I looked around the Internet and found Berlioz's Treatise on Instrumentation on IMSLP. However, as useful as this has been, it is not exactly what I am looking for. What I try to find is not a book which tells me about about the instruments themselves, but rather how to combine them and make my orchestral scores look and sound good. Glancing at one of my orchestral scores, I can see that the orchestration is very basic, and probably sounds as much. (It is on manuscript, so I cannot hear it) Does anyone know of any books/websites/articles that will help me to improve this aspect of my orchestration? Thanks
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