madbass

Interesting stuff. You have some nice ideas. The third one sounded a lot like the boring guitar work in Messhuggah, but the first two seemed rather nice. Good job! I wouldn't focus so much on the technical aspect though; it makes it sound too academic and stale. Try enveloping creative concepts within the stuff you right as well, and don't be afraid to put some solos in there either, and do some stuff so that the bass at times could also emphasize the heaviness of the guitars a bit too. I'm not saying I'm against the bass being contrapuntal to the guitars, I kind of like it when it is, but it's also sometimes good to use the bass in that way. Nice drum work too! Also, in the pdf file, may I also suggest putting in the tablature under the notes? Also, to maybe help develop your style, may I suggest some Gorguts for you as well? They write death metal just like you have too, with influences like Shostakovitch and Schoenberg.

Well, thank you all very much. The comments are highly appreciated.

I wish to revive my thread so it may become visible again. Nobody has replied so that is why I'm doing so.

Hmm, and after all of this time, not a single reply!:w00t: Oh well. I hope someone does soon. It would be highly appreciated!

Hmm, after all of this time, not a single reply.:w00t: Well, I hope someone does eventually.

Well, first of all, I can play most of this piece, yet the cadenza sections remain to be a bit above my piano ability. I do admit, after what you have stated, that the cadenza does sound alot like the cadenza right out of the 1st movment of the Rach 3 concerto. I should perhaps consider redoing the cadenza a bit. Yet, I personally do not believe that the whole piece sounds a lot like it!!! The cadenza(s), sure! But the whole piece? I do not think so. But, that is just my opinion. And for the people supplying suggestions to me, thank you. I highly appreciate it.:w00t:

I play piano, bassoon, guitar, saxophone, I sing bass as a soloist and as in a choir or any other ensemble, and there are probably a few more I cannot think of.

I like it! I like it a lot!

HOLY CRAP! As for me being a bassoonist myself, you have to set some limitations on the instrument. That is so high!!!!:P And at various times, I would never do this, but never have the 2nd part higher than the 1st part, let the 1st part get the high stuff. Your clef changes could be reduced a bit too. I would never use the treble clef with the bassoon, it is very rarely used with bassoons and use the tenor clef more. Otherwise, cute piece. I myself am writing a piece for two bassoons and audio sampling. It's called, "Tuba Fart Band.":laugh:

I like it. I must admit, the MIDI file of yours didn't play the pizzicato or the arco at the correct point of time all the time, put that is bound to happen. But for what I have seen and heard, one of the few things I would have done differently, and I'm just being picky, m. 122 - 126 you have the 1st Violins over the 2nds, but for some reason, you turn it over for the 2nd violins going on top of the 1st violins. I would try to refrain from doing that, It's okay to do so in choral stuff, but I wouldn't do that in a string orchestra piece. And try to put in more dynamics, articulation and phrasing, to get just that right touch you want. Otherwise, nice piece.

This is the beginning of a string orchestra piece I have written. I haven't gotten too far, yet I would appreciate some feedback on some things I should do. I am not familiar with stringed instruments too much, so that doesn't help that much. Tell me what you think. String Orchestra.MUS String Orchestra.MID

WTF!?!?!? If this is a serious composition of yours, you need serious help!!!

I'd help, but I cannot seem to open the finale file. Sorry.

A year or two ago, I found this simple melody in this very old piano magazine and I thought it would be a great idea to write variations on it for piano. I have only started a couple of variations and completed a couple as well. I am not exactly sure what this melody is from, perhaps someone could tell me. The beginning theme is notated as the original melody out of the magazine. Please tell me if any of you knows what it is from. Variations.MID Variations.MUS

I'm currently learning organ and teaching myself guitar. I'm already beginning to shred! WRONG POST, SORRY!

Interesting. Your usage of sounds is quite interesting as well as the percussive feel to it.

I would be careful with using Robert Frost text settings. One mistake was made with Eric Whitacre. His choral piece Sleep was originally set to "Frostina" and he got in trouble for using it. Just a warning...

I HATE Nu-Metal!:laugh: Try doing some stuff that involves TRUE metal!!!

Very nice. I like your chord structures and use of dissonance. If I were to write a lullaby, I would have used more of a "rocking" feeling to it, but that's just me. But very nice.

I wrote this strange atonal piece back in 2004. Tell me what you think of it. I have also written a general summarization and analogy of this piece as listed below: "Untitled" for Piano and Clarinet An Analogy of the Piece by the Composer This piece is perhaps the most eccentric piece I have written. I started this back sometime in 2004 and I recently polished it up in 2006. I was inspired by an Indian composer by the name of Schulmit Ran, and she wrote a piece for Cello and Clarinet entitled "Private Game." When I listened to the recording of it, I fell in love with it; it inspired me to create a clarinet piece, which is when this piece was born. The piece requires an excellent, perhaps even a virtuoso clarinetist, and it is really no picnic for the pianist either. The clarinet must endure some difficult rhythmic passages, some fast runs and even a couple of cadenza's, one of which requires improvisation. The clarinetist must do fast tonguing, and speedy octave jumps at some points. The pianist must endure some strange chords and tone-clusters, and very confusing and strange passages. The performers must take careful consideration of meter and time changes that occur very frequently throughout this piece. The pianist does serve as the accompanist, yet that is not the piano’s main purpose in this piece. The piano is originally intended to, in a way, “fill in the blanks” that the clarinet leaves blank, and the pianist and clarinetist work together. The form of this piece is, simply put, A, B, C, D, B, E, A, C, F, B, and “Coda.” That is the “basic” form and outline of this work, but the sections tend to be somewhat different and at times, interwoven with each other. So, we will go through it then. It starts off with a “Humoresque-like” style, it being somewhat light and bouncy. The main theme in the beginning section is played by the clarinet as an augmented C chord that runs down. Then we slow down and we get to measure 11, and move on to the next section. It is a gentle section, as the expression indicates, and the clarinet plays a melody as the piano supports the melody with a series of open 5th chords. The clarinet plays two 6/8 measures and the pianist steps up with a little fill in the 7/8 measure. This is repeated again, with it a half-step higher and the piano 7/8 fill a little different than before. The clarinet then has its first cadenza between the section B and C. After the cadenza is completed, we move on to a faster C section (sounds a bit like surgery, doesn’t it?) as the piano starts it out slowly and accelerates to 100 beats per minute. 4 measures of that happens, we have a little reoccurrence of the beginning for 2 measures as that is followed by a little 5/8 ditty over into 2 more different measures leading into section D. In section D, the piano begins with a loud, percussive, ostinato, and the clarinet sneaks in a few little phrases as the piano continues its ostinato. After a series of many things done between the clarinet and piano, we get lead back into section B. Section B plays through and we then have a new section, section E. The clarinet plays a soft and distinctive melody as the piano plays thick chords. With practice, the chords are playable, yet may take a while to distinguish at first. We go through 11 measures of this, and we abruptly and suddenly go back into part of the beginning section, for about 5 measures, and it weaves into section C again for 2 measures. We then see something that is never seen previously before as we go into the F section of this piece. When we hit measure 80, we have a new, eccentric melody with a bouncy accompaniment with a couple of surprises in the section. After a few measures, we then get back into the B section again of this which as we can see reoccurs quite frequently throughout the piece. After that, we go into the “Coda” or ending, as we again have a reoccurrence of the C section and we abruptly stop with a fermata held rest. The clarinet then plays its improvisation cadenza for 15 to 20 seconds as it ends on a basic, C major chord, and we end the piece. This piece was basically my first venture into modern, contemporary, avant-garde world of music. It is the very first atonal piece I’ve written. It is a very strange piece, and I tend to look at it as a way of seeing what is possible with musical form and structure. The structure is quite odd and not completely conceivable in a few ways. The piece basically relies mainly on C-whole tone but not entirely. The piece was originally the first movement of something that was to be a suite for clarinet and piano, but I believe this works better as a single piece of music. Ever since I wrote this piece, I have had a great obsession and fascination with modern music. I hope you enjoy this piece. Clairnet and Piano Truley Atonal.MUS

This is a piano etude I have written for a composition scholarship. Please tell me what you think. And posted below here is a summarization I have submitted with the work: Etude For Piano An Analogy of the Piece by the Composer This etude was started in November of 2006 and was finished in February of 2007. It was inspired to me by a passage of Edvard Grieg's Piano Concerto in A-minor. It has quite a workout for the pianist that involves very fast cadenza-like passages and hand jumps at fast speeds. It involves good rhythmic precision, playing in three staves. The piece involves techniques that every pianist can make use out of, including cross-rhythms, sudden rhythmic changes at some points that can baffle sight readers and hands working and sort of interfering with the work of the other hand and working between, over and other each other. The piece requires the pianist to stretch up to a ninth, so small hands may have a difficult time playing this piece. It has some surprises for the listener as well, like some sudden dynamic changes and different than the usual from before type things. Despite the overall difficulty of the piece, the hardest thing the piece requires of the pianist are the use of some tricky pedal technique, including the lesser-used sostenuto (S.P.) pedal, so to perform this particular piece, you must make sure the sostenuto pedal functions well on the piano intended for the performance, and that the piano actually has a sostenuto pedal. The sostenuto pedal usually wont work on older pianos because that specific pedal would be intended for a different reason back in those days then intended today. The pedal must function in order of sustaining a certain specific note or a group of notes without sustaining any other notes not intended on the piano. It is true that in some parts of the piece that when the low notes that are sustained that other higher notes in the right hand will possibly, more or likely, become sustained as well, but that is okay, since it is a natural occurrence in the piece that is unavoidable. The pianist must take into consideration the tempo changes throughout the piece very carefully, including every ritardando and stringendo. What must also be taken into consideration is the use of the dynamics, containing the colors hidden within the music, and when not played, the colors have been failed to be expressed and remain trapped within. The piece is divided into three main sections. The beginning opens up the overall, lively, and somewhat furious feeling of the piece and the main melody. After a cadenza-like passage in measures 15 through 23, we have an A-major variation of the melody, which modulates into an F-sharp-minor tonality and that tonality introduces us to the second section, entitled Andante Transperente. It as first has a beautiful, light feeling with it, making a somewhat opposite feeling of what we had just recently heard. It has a completely new melody from measures 33 to 38 in the right hand. After it goes through that, we have those same, beginning measures we had heard in the beginning of this section, and when they finish up, something shocking occurs. We go onto Pesante Poco Meno Mosso, which has the same melody as before, but contains a rapid, exciting thing in the right hand, which MUST be played strongly and somewhat percussively. After the dramatic chords that take us back in the original tonality, we go to the third section, which at first seems exactly just as before in the beginning. But then we get to measure 52, and it opens up a surprising variation for us, as the typical rhythms change for us. We then get to measure 55 and we have the cadenza-like passage like in measures 15 to 23, but we have it in a B-minor tonality instead of the D-flat-major tonality as before. After a fermata sustaining an F-sharp, we hear the translucent sounds of rapid notes getting softer and softer, remaining sustained, and eventually dying out and the piece comes to an indefinite end. This piece I consider one of my "masterpieces," and I hope you and everyone enjoys it as much as I do. Etude for Piano.MUS Etude for Piano.MID