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  1. Hi, it's been a while since I posted so I thought I'd show something off while I work on a large orchestral piece I'm taking my time on. The drums, rhythm guitar, and bass, was from a free backing track I've found on Youtube; the lead guitar is what I've done (the part with the terrible quality haha) The next one is where I am working on my guitar solos. I believe I hit one wrong note outside of the key of D Major (very noticeable) And I know there are a lot of random notes, I was freestyling...didn't necessarily write it down like I did the first one.
  2. Hello, Currently, I am writing a piece including Double Bass. I want to have the Bassist play a natural harmonic, but I cannot find a correct solution for the notation like in the following passage: (Do not mind the red notes) (The notes sound an octave lower) The result of the harmonic is an A4, but the open string is a D2 and the fingering an F2, with the result of 7 ledger lines... If I write the harmonic in the treble clef the passage is as follows: Although there are less ledger lines (4) I think this looks terrible too and I don't know if a bassist is able to read so many ledger lines below the treble clef. I have thought about using the tenor, alto or soprano clef, but is this allowed? Can bassist read these clefs? Do you have any advice for me? Maarten
  3. This is the first of three vocal chamber pieces I'm working on. They're all based on and adapted from ancient Norse poems (translated into English). The Incantation of Hervor relates the story of a valiant young 'shield-maiden' (Hervor), who visits the burial mound of her father (Angantyr) to demand that he (now a ghost/wraith) give her his magic sword, which she considers her inheritance. I've never written a piece with vocals before. It was certainly a challenge to get the lyrics to match up with the music, and I had to make some minor alterations to and omissions from the original text (but the spirit of it is still there). I realize there are no slurs and not many expressive markings -- this is just a first draft. Any feedback, comments or criticism is welcome! Thanks for listening.
  4. Eviternity (Opus 24) is a piano monologue. Even though it has slight additions of cello, glockenspiel, and bass guitar as small ornaments to spice the whole work up, it is mostly a highlight on piano. I was not sure whether I can post it here, but I treat it as a piano work in the highest degree; the composition could be played as a soliloquy without any other instruments. I had some harmonic issues when writing this piece, so you may find slight dissonances. However, I left those unchanged in the end (I do not wish to stick to consonances all the time). This composition is also known as "the most cheesy work I've ever written." Thank you for listening!
  5. Trio in B-flat for Viola, Violoncello, and Contrabass I. Allegro spiritoso II. Adagio e sostenuto III. Menuetto: Allegro IV. Allegretto Composed: February 22 - May 26, 2014 Style: Classical, circa 1790 Though conceived as a mere amusement, this work ended up being for me an intensive study on how to handle a group of low-register instruments effectively in a chamber ensemble. Works for this very unusual instrumentation are exceedingly rare, as one may imagine, probably because of the challenges I faced in writing my own piece. Achieving clarity in an ensemble with so much bass sonority was rather difficult, but I believe I achieved it to some degree. Fortunately the players for whom I was writing it made the job easier. This trio was originally written for myself, a friend (an excellent ‘cellist), and my ex-boyfriend (a fine bassist) to play just for fun. This is one of several chamber works featuring the contrabass that I wrote with my ex-boyfriend in mind, and I learnt a lot about the capabilities of the instrument from writing them (I had never been much interested in the contrabass in chamber ensembles before I met him, but listening to him practice difficult passage work I would never have thought possible on the instrument fascinated me, besides which, affection prompts us do things we wouldn’t otherwise have the inclination to do). Both of the other players are better technicians than I am, so I was able to write parts for them that were somewhat demanding. The viola part I wrote for myself was also challenging for me, but carefully within my skillset, so all the parts are fairly equal. Description: The first movement (Allegro spiritoso), in Sonata-Allegro form, opens with a bold, vigourous 4-measure theme for all the instruments in unison, sweetened by a more lyrical melody in the ‘cello before being repeated. A transitional section follows, featuring the contrabass in sweeping scales and arpeggios, which modulates to the dominant of the dominant key, C major; the second theme, somewhat unusually, begins in C, with the ‘cello and ‘bass harmonizing in 10ths, and makes its way to the dominant key of F a few measures later. After a short codetta, the exposition is repeated, with the main theme slightly altered here and there. The development treats snippets of the main theme contrapuntally before modulating back to the tonic key for recapitulation. The second movement (Adagio e sostenuto), in binary form, is in the subdominant key of E-flat, and begins with a simple but expressive theme, which gives way to a transitional section led by the ‘cello. A more rhapsodic second theme follows with the viola and ‘cello harmonizing in 3rds and 6ths, accompanied by the ‘bass. The A and B themes are repeated, all in the tonic key, and coda based on the A theme closes the movement. The third movement (Allegro) is a Menuetto based on a 5-note motive that is repeated and developed throughout the main section of the movement. The contrasting Trio section, in the movement’s dominant key of F, is based on a sprightly theme characterized by leaps of 5ths and 6ths up and down. The main section is then repeated (Da Capo). The fourth and final movement (Allegretto), in Rondo form, begins with a somewhat droll “A” theme, which is then developed during a transitional section. Just when one expects the “B” theme to enter, a short fugato on a new subject is introduced, which leads into the actual “B” theme in the dominant key of F - humourous, and characterized by accented syncopations and sudden changes of dynamic. After a brief codetta, the “A” theme returns abbreviated, followed by a lyrical “C” theme. The “A” theme returns again, followed by yet another short but different fugato on the same subject as before, and the “B” theme returns in the tonic key. A variation of the “A” theme returns a final time, and a humourous and spirited coda ends the movement. This work was premiered in July 2014 by the ensemble for which it was written, at a cojffeehouse in Wichita, Kansas (where I was living at the time) which often features live music of all sorts, and was warmly received by the audience of patrons sipping coffee or having breakfast. Alas, the nature of the venue precluded a live recording being made - there was a fair amount of background noise as beverages and food were being served. Inasmuch as I have heard this work performed effectively, and I know it works, I have few concerns, but I am open to suggestions, comments, and criticisms as always. Players’ and Audience Comments: The players enjoyed playing the piece, and when I suggested a performance as part of the ‘cellist’s regular solo set at the coffeehouse, all were in agreement. The bassist, himself a fine composer as well as a university music theory teacher, was somewhat critical of the ‘bass accompaniment of the second theme in the slow movement because it didn’t seem like a characteristic period bass line, but that was the only criticism I received. The audience members made few comments other than to congratulate me. To my surprise, no one seemed even vaguely bemused by my choice of instrumentation, which I took as further evidence that I had made it work effectively. I did receive one criticism from a friend who frankly told me he hated the piece, saying that it was devoid of any treble sonorities and far too dark to be pleasant, but his was the only such comment. I hope you enjoy this rather unusual work! Cheers!
  6. Guest

    The Ghost (Opus 23)

    Hello fellow composers! I'm leaving you with my newest composition - Th Ghost. It is written for piano, small string ensemble, synthesizers, and harp. I literally have no idea what I was thinking when I was writing this piece. I've never used that much dissonance or vague tonality. Partially I wanted to step back from the usual canon patterns that I tend to follow and do something unconventional. At least I've tried. It is a mostly thematic piece. I also had problems with mixing and changing dynamics/panning/EQ - I absolutely hate Logic standard pizzicato strings... Anyways, thank you for listening, and hope you enjoy this small piece just a little bit.
  7. Nocturnal creatures on hunt. A music I made for a scene on my game where the player walks through a forest in the night.
  8. Output is excited to announce SUBSTANCE, a completely new breed of bass engine built for the modern producer, composer, musician and sound designer. Combining heavily processed electric and acoustic basses, real brass sections, the dirtiest analog synths, and insane sound design, SUBSTANCE is a deeply produced bass engine making sounds unlike anything else. The engine combines three layers of sources and blends them together with layer and global FX, filters, modulation, an advanced arpeggiator, flux control and macros. “Our goal with SUBSTANCE was to create a bass engine that was not focused on emulation, but rather, on pushing the envelope with creative and powerful new sounds," says Output Founder Gregg Lehrman. “It's our most sophisticated engine to date and you can really get a sense of that from the first note.” Hear SUBSTANCE at output.com Price: $199 SUBSTANCE Features: A playable instrument with 300 presets Powerful new 3-layer engine Preset menu with smart tagging Layer FX and global FX 4 central macro sliders unique to each preset Advanced arpeggiator Monophonic and Legato modes Built-in help menu Rhythm page that syncs to tempo
  9. Opus 9, Madrigal no 1, written for SSATB(lyrics : Bright Star by John Keats). Full album cover and more music available here : https://www.reverbnation.com/mademoisellelilaclucrezia Opus 9.mp3
  10. Guest

    Opus 12

    My first orchestral piece finally done! Opus 12 is written for modified orchestral ensemble consisting of : Piano, Woodwinds : flute, oboe, A clarinet Brass : French horn Percussion instruments : glockenspiel, vibraphone, tubular bells, triangle Strings : violins 1, violins 2, violas, violoncellos and contrabasses. and harp. Composition consists of first part (moderato - E major/C sharp minor), second part (F major/D minor) and third part - modified first part. Since I'm a complete amateur high school student, any helpful hints and comments are very welcomed! Score in PDF format coming soon. For more music please visit : https://www.reverbnation.com/mademoisellelilaclucrezia
  11. Mehdi HOSSEINI (*1979)Inertia I (2014), for clarinet/bass clarinet, piano, violin and celloENSEMBLE PROTON BERN Conductor: Matthias KUHNPerformers:Richard Haynes, clarinets/bass clarinetSamuel Fried, pianoMaximilian Haft, violinJan-Filip Ťupa, cello
  12. I bought a Squire Bronco Bass 4 string guitar at a garage sale. The strings were out of tune. Using my guitar tuner I tuned the strings to EADG and recorded the open strings played from my amp. I never had a bass so Im not sure if I tuned it correctly. Can someone with a good ear tell me if the bass is correctly tuned? Are the notes on the correct octave for Bass Guitars? http://soundcloud.com/jb777/eadg-bass
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