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aMusicComposer last won the day on December 16 2019

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
  • Location
    Aberdeen, Scotland
  • Occupation
  • Interests
  • 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. I find it quite difficult to hear what's going on, due to the darker tones of both instruments. I think you could use the upper register of the viola a lot more to provide a break in both tone and 'lowness'. The fast double bass at the end is good for solo, but as a bassline of the duo, it is likely to lose clarity. Perhaps this is the effect you want, although suggests otherwise. It will definitely sound considerably better live!
  2. It's definitely playable. Because I'm not a cellist, I can't tell you how tiring it will be over long periods. It will be more difficult than the upper strings because the hand stretch is bigger.
  3. Wow! This is amazing for a 3rd ever composition! Regarding the instrumentation, I think that it could work. If there is any way of getting low woodwinds (bass clarinet or even a bassoon) then that would really benefit the piece. What instrument do you play in the orchestra? There is a problem with some of the orchestration, especially in the woodwinds. In bar 13, you have widely divided harmony in the clarinet section. This will cause what is known as "register confusion" - when multiple of the same instrument play in different registers. It badly affects the resonance of the chord. Bar 14 is very high for the 1st clarinet. You will want to be careful when scoring so high. Bar 96 (the 1st time bar) shows some of the issues with the small woodwind section. The clarinets and flutes are paying notes close together, which can again cause register confusion. Overall, this piece is very biased towards the 1st violins, although much of the wind scoring is good. This is typical of Classical period pieces, and shows the influence of Mozart and Beethoven. From Figure I (bar 115) the strings are playing a difficult passage. This could work well in a chamber composition, but is at a great risk of sounding muddled with full sections. Perhaps it lacks maturity, but it is one of your first works. Regarding the "own voice" n̶o̶n̶s̶e̶n̶s̶e̶ opinion, I recommend you have a look at this thread: Overall, this is really really good for a beginner. Well done!
  4. Here is the first movement of my Symphony No. 4 in D Major. I completed the entire symphony at the end of last year. Any feedback is welcome on this movement, particularly regarding harmony and orchestration!
  5. Hello. I really enjoyed this. I'll comment on some things in the first section, which apply to this pieces and others. I like the harmonic transition from Emaj in Bar 2 to Dmaj in Bar 3. However, moving back to Emaj in Bar 4 doesn't work as well in my opinion. I think a different transition back to Amin would work a little better. Perhaps a sequence of D-Dm-Am? Bar 5-6: The number of harmonic voices changes often in these bars. It could sound slightly unstable in a performance, due to lack of cohesiveness. Bar 16: A tiny comment, but make sure you have the correct number of rests in each voice. Good job! You have evidently put a lot of thought into this piece, yet it still flows naturally.
  6. Thank you both very much. I tried to make the parts different so it fits the number of players. I'm glad to see that it paid off! Regarding the comment about the baroque orchestration - indeed, I discovered this ensemble through listening to Baroque and early Classical music. I feel that larger wind ensembles have such a variety of tonal colours, that they are akin to a full orchestra. It's a medium that today, sadly, can be left untapped. That's great thanks! I'm happy you enjoyed it - as creating enjoyment is my biggest aim in my composition.
  7. Hello all, Here is the first movement of my Fantasy in D Minor, scored for pairs of Oboes, Clarinets, Horns and Bassoons. It is written in sonata form, and I tried to share the material between the different instruments. It took me a long time to write - I hope you enjoy it!I - Lento.mp3
  8. A good flautist can play fortissimo down to about the lowest G. After that, it starts becoming awkward. Based on what I've seen, I'm more concerned about the complete lack of slurs or any phrasing. I hope this is just because you haven't finished it, because otherwise it implies that Every. Note. Should. Be. Clear. And. Detached. You probably don't want that in this piece.
  9. I don't understand how polytonality can be taken far enough to become atonality. In my experience, they are different things.
  10. Very nice. I like your development too. I think it's very effectively used in your piece. I think nearer the end you could even stretch to an sfffz!
  11. What should you do? Put all the keys into a hat and pick one at random. Seriously, if you can't decide, then get the decision made randomly. Don't like this idea? Have another think about your keys then.
  12. This score looks more like a concert band format with strings. Another point: Horns should go above trumpets. Yes, they can play low. They do indeed produce a different effect. I don't think this is the effect you want. I may be wrong. The timpani part is bordering impossible. Unless the timpanist has many many drums, they cannot play so many different notes. The timpani notes are set from the beginning of the piece. In the Classical period, they were usually on the tonic and dominant. Although the notes can be changed throughout the piece, it has to be during a period of rest. (A professional timpanist can change much quicker than an amateur, because of their added experience.)
  13. It's not syncopation because the strongest pulses are still in their place. The first beat in each bar has the strongest rhythmic accent. What the quavers are doing here is leading to the next strong beat. If you want it to sound syncopated, tying the notes over the barline would help. If you really want the chord to sound diminished, you can always add an F#. The sacrifice of the key signature will be relieved by the context of the chord.
  14. You could remove that Eb altogether. The chord would probably sound even better because of a better spread of notes. Indeed this is what syncopation is. But only is the quaver becomes accented. If the quaver isn't accented then dotted rhythm ≠ syncopation.
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