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aMusicComposer

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aMusicComposer last won the day on October 21

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.
  • Favorite Composers
    Beethoven, Grieg, Tchaikovsky, Chopin, Rachmaninov, Moszkowski
  • My Compositional Styles
    Romantic Period style, especially of the Mid-romantic era. Trying to develop my own style, taking inspiration from the composers I love as well as traditional (folk) music!
  • Notation Software/Sequencers
    MuseScore (and mostly manuscript paper)
  • Instruments Played
    Piano, Flute, Violin/Fiddle

Recent Profile Visitors

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  1. Hello all Today I attended a composition workshop. One of the things we discussed was world music, and in particular, Indian music. The composer leading the session talked about how there are sets of notes called "raga" and how each one evokes a specific mood. Unfortunately we ran out of time although I found it really interesting. Can anyone elaborate on how Indian music is written - in regards to the patterns and structures found within? Thanks
  2. The second score looks a lot better in my opinion. Putting the key signature to D minor did resolve those accidentals. Don't worry about it! There will come a time when you will find the inspiration to complete this. It's a great start you've got so well done!
  3. It's very dramatic and intense. The growling low octaves create a dark atmosphere. A couple things: Clefs: I think writing in the baritone and bass 8vb clef is a bit unusual. It's better to write with a bass clef for the right hand. Bar 7: These A#s would be better to write as Bbs. Have you any plans to make this longer? I think it seems a bit short and underdeveloped - it has a lot of potential.
  4. First off, can I apologise for not responding to your last reply on the Surprise symphony thread. I hadn't realised you had replied! I think the woodwinds are always problematic to arrange well. I don't want to talk too much about this, but something like a piano quintet could work as a size of ensemble. A piano duo (rather than duet) or even trio would also be suitable for a Romantic Symphony in my opinion. I would just like to mention that the flute has a great range of timbres. It can be played really very harshly at little greater effort to the performer. I think here you have run into one of the problems I see with this arrangement. A good chamber ensemble doesn't keep the melody in the flute, and the harmony in the cello. Variety is important and will hold the interest of an audience. I think your arrangement is good. There are a couple of things I would like to say. Bar 11: Arpeggios don't come across very well on string instruments when played arco. They are fine if plucked however. Bar 27: As it is written, the double stop in the violin is extremely impractical. Change the C# to a Db however, and it will be really easy. Bar 51: Those double stops are impossible on the violin. Both B and G# are on the G string and can not be played at once. Same in Bar 59 Bar 67: It will be difficult to get a smooth effect on the flute hear when crossing registers and tessituras. It's mostly fine. I just think it needs some variety and to check some of the double stops in the violin part.
  5. I like the driving rhythm throughout. It's a very dramatic piece and the strong drums help to emphasise this. I think it builds well, with the strings becoming more coherent towards the end. I think that the phrases are well structured. What do you think will come before and after this? I can imagine some possible scenarios. Good job!
  6. Thanks @Markus Boyd @Quinn @LayneBruce for your comments. It's really good to have live musicians playing a work. It shows up the shortcomings of a computer program! I will upload the score in a couple of days for you to look at. There was a series of two workshops. Most of this piece was written between the two when I wasn't under pressure to finish it quickly. Only the first section was written on the day. The person leading the workshop also told me that the tremolo octaves might not work, because the piano has a tendency to overpower the strings (a really useful tip that I took away.) Thank you for your comments. I must say, the violin and cello players there were amazing! They're both known where I live and play in several orchestras between them.
  7. Hello all. I have recently remembered about this piece that I composed for a workshop back in June. The pieces were recorded at the end of it, and I can share it with you now. I decided to write for Piano Trio. The movement starts and ends in A major, but has sections in other keys. It is in a rough sonata form with two contrasting themes. The main idea has a seemingly random dotted rhythm, but it actually fits in a 5/4 beat shown at the end. The second theme also fits into the 5/4 section for its recapitulation. I am mostly happy with the recording, except for perhaps the final few bars. We only had one rehearsal before the performance and recording so I thin kwe did well. Any mistakes by the violin and cello are due to under rehearsal - any mistakes by the piano are due to me not practising enough beforehand! Hope you guys like it.
  8. Really really well done! I think the way you score your ideas for the ensemble is brilliant, and every instrument has important part. The emotion running throughout is very strong. My only complaint is that is feels a bit too heavy. Especially for the first few minutes, the constant passion gets a little tiring. I want to stress that the music is great, it's just I feel that the listener - and the players - might get a bit tired.
  9. I like it a lot. I think you have successfully managed to embody your voice while still sticking to the style of the romantic period. There are subtle influences of Chopin and Schumann that I can pick up, but is that a bad thing to be influenced by those masters? Your main theme is very nice and catchy. I think the long Bb in Bar 4 needs some sort of movement, maybe an accompanimental figure through it. It just seems to stall a little. I think that the development in the second section feels natural. I think the middle section is very nice. It seems to flow well and in my opinion seem to be the most in your own style. I love the harmonic changes, especially around Bar 80-106. Bar 141 - I'm not convinced by this. I like the idea of having the theme played loudly at the end of the piece, but I think it needs to feel a little grander, such as having a bigger chord in the left hand and more ornamentation in the melody. Overall, well done! I think it's a fantastic little piece. My only complaint would be the fact that it is always a right hand melody with left hand accompaniment. I think you could use your left hand to have some more melodic expression or introduce some inner voices.
  10. I like your arrangement. I think it works well. There are many examples of piano duets of Beethoven. It's nothing unusual to write, and arrangements on the Romantic era are common. There was a movement where many arrangements were written of popular orchestral works for people to play a home. Can I just say that what happened to the rest of "his 100+ symphonies""? Just because you know the surprise symphony well, doesn't mean it's the best to arrange. I really would consider branching out from the three symphonies you have mentioned here. Are there none other worth mentioning by an arranger today? Haydn's orchestration is simpler. Piano duet music is often very complicated and difficult to play, so the difficulty really doesn't matter. In my experience, hand crossing etc are common. Out of interest, have you played piano duets before? I agree with Quinn. I think it's a good arrangement, but I don't know the orchestral score as well so I don't know how you have actually done it. Is there not a way to change individual instruments in the Mixer? That would help you get a better rendering and it's something I use often. Good job. I would like to see you branching out as an arranger, and I think that arranging a Mendelssohn, Schumann or Dvorak symphony would be a good challenge for you. How about it?
  11. @Alexx I do think that form is a highly subjective aspect of music. I can definitely understand what you were meaning and I think I will revise this to make the themes clearer.
  12. @Alexx It's not quite finished, but I feel I am almost there with it. The first theme enters at Bar 5, played by the Oboe da Caccia. I personally think that the second theme (scherzo) was set up properly. I did try to make my piece melodious. I have planned a new form which has some more development, but uses the same two themes as this one.
  13. It's a fantastic piece. I think it's quite beautiful and emotive. The euphonium part is interesting and varied, and will present a good challenge to play well. I have to disagree with you @Rabbival507. In my personal (limited) experience, this is the standard layout for a band. I can't see the strings at all, am I missing something?
  14. It sounds very nice. It could lead into a mysterious piece, or maybe something brighter. The progression at 0:16 is quite unexpected, but that's not necessarily a bad thing. It flows differently from the rest of this opening.
  15. They sound great the way they are. It's just that I would have made some of them longer if I had written them, purely because of my style. I like what you have done with your ideas!
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