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aMusicComposer

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aMusicComposer last won the day on September 16

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.
  • Notation Software/Sequencers
    MuseScore (and mostly manuscript paper)
  • Instruments Played
    Piano, Flute, Violin

Recent Profile Visitors

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  1. Here is another short piece that I wrote over the summer. It's a humoresque in ternary form. I hope you guys like it. Note: I think the audio file is missing a repeat on the da capo.
  2. Thank you @Tónskáld for your review. I think the low B is okay to play. I'm more unsure about the jump that follows it. I'm no bassoon player, but I know some and have heard them play many times.
  3. Hello everyone I don't think I've posted a piece here in a while. Here is a composition for Bassoon and Piano - the first I have written for Bassoon solo. What do you guys think of it?
  4. I went for "Poor Form". It sounds like an interesting idea.
  5. It's a really nice style. Overall I like it. I think the orchestration could do with a bit of work. As I wind player, I enjoy writing for the section. Would YC benefit from a thread about wind writing?
  6. It's nice, but I think it needs a bit of work. I'm not an expert in counterpoint, but I have a little knowledge of some of the rules. There are some awkward moments where harmonically, the voices don't fit together. You can listen out for them and hear them. There are a couple of instances of parallel fifths and octaves (e.g. Bar 14 and 16.) The octaves at the end of the first phrase and the whole piece lose some weight, where a different harmony could have been more effective. One more thing. My personal preference would be to use hairpins instead of dynamic lines. I think it just needs a thorough look and patching up. Well done!
  7. If you have never written opera before, I would be inclined to leave it as a symphonic poem, but nothing should stop you from turning it into an opera if you don't want to. The number of soprani depends on the story, and however many characters. If you are predisposed to not using soprani, then use mezzos. You can write it in English if you want. Italian and German are used because of the style of language, but many operas have been written in English. If you want to write in a different language, don't use a translator, try to learn it (unless you have a friend who is a native speaker.) You can patch it up later. Good luck with your project.
  8. I have to say, it just seems like a list of melodies without structure. Also, have you thought about combining two melodies at once? It just seems a bit bare and this will help you practice counterpoint. I don't get the point of the lyrics, which also don't seem to fit in with the notes a lot of the time. Let the music speak for itself.
  9. The arrangement is great, but I'm going to pick up on some of the fine technical details. Bar 21: Two very long slurs for the violin. I would consider breaking these up to about half the size. Bar 23: You have bowed viola quavers underneath a violin slur which might not work. The viola could play portato. Bar 29: The violin phrase on beat one will lose some momentum because of the bowing. Consider changing the slur to only cover the first beat, with a staccato on the quavers of the second beat. Bar 51: Give some more of these triplets to the viola. Bar 98: Impossible viola double stop. Bar 176: The figure between the violin and viola is interesting, but will frequently lose texture when the viola drops out. There are a couple of solutions such as having the viola up an octave or sharing between the two instruments. Bar 184: Impossible in the cello. Mostly a very good arrangement! There are some impractical/impossible parts, and some things which could be better. The biggest problem you have is with phrasing. Were the slurs in exactly the same place in the piano score as you have written here? Mozart's phrases were well written for the piano, but the phrase should be different for every instrument. The main thing you should ask yourself is whether Mozart's piano sonatas need arranging.
  10. On strings, fifths are difficult to play well because your finger needs to be at a different angle to keep both notes in tune. Avoid sequences of fifths, but single ones can be done.
  11. Why don't you take the strings out altogether? Doing so would give a break for the string players, and also add variety into the timbre. Here is another possible solution: Oboes play in thirds, an octave below what they are playing just now. Take the violins out of this bit. In the second bar, add in clarinets, bassoons and low strings. In the last two bars add in flutes and pizzicato violins/violas. That was just another possible idea that I came with which makes it more woodwind dominant.
  12. A question about writing for winds is my specialty (as a wind player!) Eine Kleine Nachtmusik will be difficult to orchestrate well, because it is only written for string orchestra. You can easily have C trumpets by changing the instruments once in the file. Changing oboes to clarinets hear is going to make it even harsher. In those top notes the clarinet is very loud and piercing. Yes that would work, but you will have a lot of doubling. You need to be careful about excessive doubling when you are orchestrating. I have thought of a couple more solutions. OPTION 3: Take out the oboes. Take them out altogether from these few bars, and have the pair of flutes playing in thirds. Add the oboes back in another time - you don't need or want to have all the instruments playing at once. OPTION 4: Oboes and flutes in thirds. Have both sections playing in thirds and doubling each other. This will avoid register confusion, and the flutes will soften the tone of the oboes. Thanks for the question.
  13. This is a good orchestration of one of Mozart's sonatas. I'm going to comment (as a player) on the woodwind section. There is some impractical writing. I'm going to look at some stuff in detail. You said this was practice, so I want to make these points. Don't take these the wrong way - the writing is mostly very good. Bar 2: Flutes cannot play low C very loudly. Compared to the very loud oboe in that register, there will be a distinct imbalance of tone and registers. Bar 6: The same again. Most flutes do not have the ability to play a low B. Bar 10: Bassoons slurring up octaves will be difficult and lose clarity. Bar 22: I assume you meant to slur the oboes too. If not, this will be very difficult and sound muddy. Bar 50: Low Bb is impossible on the flute. Bar 57: The oboes jump quite a lot here. I would maybe split the part up between different instruments. Bar 91: Arpeggiated basses don't work as well in the orchestra as on a piano, but they can be achieved. The bassoons and cellos will struggle a bit here. Bar 181: That'll be difficult on bassoons. If you have any questions about any of these points, just ask! 😀
  14. Originality is not the ultimate goal of a composer. Or at least, it shouldn't be. It's a step along the journey to finding a creative voice and being able to use it when faced with empty paper. This is why many orchestras are unwilling to take on new works. I spoke to someone who used to work for the RSNO, and they said that they got dozens of emails from budding composers every day, just wanting the opportunity to have a work performed. I've already answered this in another comment (see above) but I feel that it's worth saying that an original - or even unoriginal - style is all about exposure. Whatever music you listen to is the style you will subconsciously take on. Art is so difficult to explain in words, that it can make discussions impossible, especially to those who aren't native English speakers. I applaud you all.
  15. @caters I must say that I personally do not think that atonality has "ruined" music, rather taken it down a path that no one in centuries past expected. I don't like Schonberg's atonal music (as a personal taste) but as a composer he did so much more, and I find some of his early works pleasant. What I don't like is people that copy Schonberg's atonal ideals, as so much music composed these days is.
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