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aMusicComposer

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aMusicComposer last won the day on February 15

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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

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  1. My thoughts too. It's quite difficult to pick an instrumentation with no idea of what the piece will sound like. That said, I do like an string + wind Octet...
  2. It would add a little more intensity in the louder sections. Also, it would make it much more interesting to play, rather than just circling around the same few notes. In my experience, if you want it to be stretched a little it is best to use the abbreviation ten. over the note. The tenuto within a slur signifies that the note should be restarted without it being hard. (The flute player would use a softer syllable to articulate that note.) You could also make the piano chord bigger to encompass a higher range - just another suggestion. I think the lack of voice crossings is partially what is contributing to the lack of high register notes, especially in the violin as it is forced to always be under the flute.
  3. It sounds really quite nice. It's a noticeably improvement on other works you have posted here. Here are a couple of comments: 1. Throughout the piece, the instruments stay in similar portions of their ranges. I think you could push a lot more into the high registers. This will help you unlock a whole new world of sound. 2. Your main melody introduced by the flute at the beginning has many elements in it that lent themselves nicely to development, such as the short chromatic scale D-D#-E. 3. When the cello enters, there are cases of direct and parallel octaves between it and the violin. I think you could revise the counterpoint to resolve some of these issues and make your ideas more coherent. 4. Bar 17: A very little thing, but it is more usual to put a tenuto mark on the second repeated note in the flute part. 5. The very last chord has a wide gap in the upper register between the flute and highest note of the piano. Taking the violin up an octave could resolve this. Good work!
  4. It's wonderful. Parts of it I feel sound a bit like a movie theme - some of the big festive sections. Orchestration wise, it's very good. I feel that you have an excellent control of balance. I dread to think how long it must have taken you to sort out that recording!
  5. Fantastic! I love how you use the different registers of the cello (especially in the Gigue) to get different effects. I'm less sure about Bars 11-12 in the Courante. They seem a bit random, especially when both sides of them are legato. However, without them there might be no break from the flow... Great work!
  6. That's just what I needed to know! I guess it was just used as an example in the book, as there are few instruments pitched in A. Thanks for the link, it has some useful information.
  7. Clarinets commonly use two keys for their instrument - Bb and A. However, Cornets, the lead melody section in concert bands and brass bands, only seem to use a Cornet in Bb. This would be normal - after all, there is no Trumpet in A - but I have found records of Cornets in A existing. Recently I was looking at the score for Elgar's Land of Hope and Glory. The opening clearly shows a brass section of 4 Horns in F, 2 Trumpets in F, 2 Cornets in A, 3 Trombones and a Tuba. Secondly, the ABRSM Music Theory in Practice: Grade 5 book shows it. The transposition chapter includes transposition practice for Clarinet in A and Cornet in A. So, are these instruments widely available? Is there any use for them over the standard Bb Cornet?
  8. Ah, I see. I don't tend to write with rhythms that lend themselves to this, so that is probably why I haven't seen it before.
  9. Hello. To be honest, I've never seen this before. I don't think it really matters, as it is still obvious what the notes are. However, some people may think that this is intended to be a different technique, such as letting the note ring through the rest (for percussion), although this is usually written as a slur to the rest.
  10. Don't worry about it. It is a very good sonata. The thing about writing in the baroque style, however, is that the flute has changed so much since then. In the Baroque era, each note on the flute had different tonal characteristics. Some were hollow, some were dark and full. Also,.Baroque flautists used syllables such as "di" "ri" as well as the common "ti". When the modern flute was invented, the emphasis was on consistency across the range, and making sure the articulation was clear. Just something for you to think about, whether you want to write for the old or new instruments, which could affect the style that you use.
  11. As a flute player, I can clarify there are enough places to breathe. I'm not entirely sure it works like that. I have accompanied saxophonists, yet I would never dream of knowing "precisely how it worked." Nb: You have said that you are new to this forum. Be prepared to receive reviews that don't say what you expected or wanted. Your comment came across as a bit defensive.
  12. Does the fact that the title doesn't match the feel matter to the integrity of the piece?
  13. As a general rule, most double stops are okay up to an octave. In the low register, many cellists use their thumb to reach the bottom note. As you get higher, the notes are closer together so larger intervals are easier. Right, let's have a look at this. 1. Twelfths on violin? It's going to be extremely difficult. Possible in the high notes, but consider that a short passage of tenths in Tchaikovsky's violin concerto is considered one of the hardest double stoppings. 2. Good point about the contrast of timbre. However, string instruments are rich in overtones, so octaves blend better than you might think - the lower note reinforcing the upper and vice versa. 3. Double bass double stops are a no-no, unless one of them is an open string. Even then, it's going to sound odd.
  14. Thank you for noticing that! Yes, the clarinet overblows at the 12th (not the 10th that I said before.) You can see this if you look at a clarinet fingering chart - each note in the clarino register is almost the same as one a twelfth below, but adding the register key and possibly some other different ones.
  15. The Bb and A clarinets can be used because of their timbral difference. They're in the space where it's noticeable enough to make use of, but small enough that it doesn't affect a piece of you don't want it to. The thing about clarinets is that their resonance is very different from other wind instruments (partly due to the fact that the registers change in tenths rather than octaves.) This means that the further the key is from C major, the worse the clarinet will sound. A clarinets are better for sharp keys, and Bb better for flat keys. The A clarinet is never seen in a concert band setting, because dedicated concert band pieces are almost always in flat keys. All professional clarinettists will own both a Bb and A, and it's common to switch during a piece, depending on the key of the piece. You can actually make use of the less resonant tone in extreme keys, such as writing for Bb Clarinet when the piece is in A major. A drier sound will emerge. Nb: Berlioz, in his Symphonie Fantastique wrote for Clarinets in Bb, A, C as well as Eb and Bass clarinets. The C clarinet has a noticeably brighter timbre, however it is rarer.
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