Search the Community
Showing results for tags 'cello'.
-
This is a piece I started composing last night after listening to String Duo for Violin and Cello in D major by Haydn. I felt like composing a piece in B minor for some reason, don't know why, maybe because I haven't really used B minor all that much in 3 years of composing. But as I started listening to it, it sounded more to me like a slow second movement than an isolated work. But what piece would have a slow movement in a minor key outside of the exceptions like Moonlight Sonata where the slow movement is the first movement and suites where the key relations aren't necessarily close? What I'm composing seems to be more like the slow movement of a sonata than a suite. I mean for one thing, piano sonata slow movements do tend to have this 2 melodies thing(bass clef melody as well as treble clef melody) that is certainly in my piece. And from all my experience listening to both solo and duet sonatas, not once have I heard a minor key second movement, although such a sonata probably exists. Anyway, what do you think of it so far? Starting at measure 12, I have a cello solo, as you can probably tell by me going into tenor clef for more than just a few bars and how high up in tenor clef it gets. I don't think the violin will just wait until the solo is finished, but I do want to give at least 1 measure to just the cello before I bring the violin back in in its low register and in more of the melodic bass role the cello had before the solo. I might change the "in B minor" part of the title if I do decide to go full on sonata with this piece. I might even change "String Duo" to "Duo Sonata for Violin and Cello" if I do that.
-
This is my Soliloquy for Violoncello No. 13. It was inspired by my getting back my cello after a long time. I practiced it, hoping to be able to adequately perform it and be able to post my performance of it instead of the computer-generated MP3. However, having not touched the cello for many years, I still need much more practice to give it a smooth performance, let alone a good interpretation of the piece, and hence do justice to the piece in performance. Maybe, I'll do so in the future. In the meantime, any cellist who is interested in the piece would be welcome to take up the challenge, perform the piece, and post their performance! Reviews are also welcome.
-
This piece was something I put together a while ago. It isn’t to complex and like usual, I’m always welcoming to advice on how to make the harmony a bit more complicated.
- 2 replies
-
- 1
-
-
- chamber music
- mallets
- (and 3 more)
-
Hello there! During this COVID-19 pandemic, I decided to revise and continue one of my old compositions, a cello sonata, which I started around 2018 but have not managed to finish it. I decided to dig it out and start working on it again, and here it is. The sonata is in four movements, depicting the various musical periods of Baroque, Classical, Romantic and 20th Century. Movements: I. Allemande/Fugue: This movement was meant to be a separate project on a baroque suite for cello and piano, but I decided to make it part of this sonata.The movement initially only had the Allemande part, then I decided to add in the fugue in the middle to make the movement more interesting with a contrasting middle section. II. Allegro con brio: This sonata was in fact one of my early attempts in creating a piece in sonata form. I was quite inspired by Beethoven's sonatas at the time (both cello and piano), especially in the development section. To be honest, this movement is not really classical; it has some romantic references, especially the use of hemiola in the second subject inspired by a Brahms piece. I quite like how I have revised this piece, though I feel further improvements could be made. III. Variations on a nocturne: The tune is very familiar, and I think you will guess it soon enough. The first two variations are inspired by Czerny etudes (again, another Romantic composer), while the third is a dance modeled on some sight-reading piece. The fourth is inspired by a Brahms cello sonata movement, then the fifth kind of follows the style of a movement from Tchaikovsky's cello concerto. IV. Allegro marcato: The start is inspired by a Prokofiev sonata movement, in addition to one of Charles Ives' Violin Sonata which has an ostinato at the start. The piece functions as a recapitalization of the sonata, recalling motifs and ideas from the previous three movements. The start uses the fugue subject, for example. I hope you will all enjoy this piece. This piece is dedicated to a cello classmate in my music class. I have yet to show her this piece though haha. Any suggestions and feedback are welcome.
- 2 replies
-
- 2
-
-
- cello and piano
- piano
- (and 2 more)
-
Here's a cello piece I've been working on for a while. I still have a lot to learn when it comes to composing and mixing orchestral music so any feedback will be much appreciated! 😄
-
This is a piece I wrote last week. I have separated the ‘movements’ by one measure long rests, and I understand if that may seem a bit too long; I have made them shorter in my more recent pieces. The reason I named it “Try, Try Again” was because the second and fourth movements reminded me of someone making a mistake whereas the other movements sounded like someone achieving or succeeding. I also included a quote on the last page of the score that I felt went along with the title of the piece.
-
Hi everyone! This is my first attempt at a string quartet. It is the first movement of a larger string quartet that I intend to make in D Minor. It would be nice if you could review it and leave some feedback. Thank you! (really sorry I only have the midi mockup, haven't got it performed yet) link: https://youtu.be/yVSecRZSyCg
-
I recently finished this composition and am looking for more advice. Considering this is my third piece where I’ve written for Strings, i think I’m getting better with writing for them. I can’t think of a name for it though so please recommend any possible names or ideas for names!
-
As you've seen already, this is my first post! I currently finished my 5th piece, which is this cello sonata number 2. As I am implementing atonality into mostly my 2nd movement, I find that the 2nd movement is too difficult for me as a person that only learned cello for about 2 years, so I do ask for any suggestions to simplify that part, thanks! The audio file my not represent the effects that will appear on the cello, such as the harmonics, left hand pizz etc. But still, please if any one has any suggestions or advice, please comment below! I am looking forward to share with all the piece that I'm currently working on, which is a piano piece. (btw, also I will add more slurs in my score later, cuz it seems as though it is weird without a lot of slurs in such a fast tempo) Cello Sonata 2.mid
-
Hey, I’m new to this website but I figured it’d be a good idea to get advice from other composers since I’m almost entirely self taught with composing and I could always use advice. Anyway here’s one of my pieces. I use Finale and some of the dynamics may seem too quiet or loud for an actual player but I most likely wrote it like that for making it sound the most ‘realistic’ when Finale played it back.
-
Hi everyone! This is going to be my first post on this site, and I would love to hear what people think of this piece. I wrote it between mid-March to mid-April, and it has formed into one of my favorite pieces. It is only one movement, which is why the official title is not going to be "Sonata." Yes, it is in sonata form, but I do not want to write any extra movements.Score.pdf On a side note, I genuinely have no idea how to engrave the score to look nicer. Any tips would be appreciated!
-
This is a piece i made in my free time, i was experimenting with different instruments and forms, as such it's more of an educational composition. Any critique feedback appreciated. youtube link:
-
I started composing this almost 6 months ago, but I didn't finished ,until now because I run "Dry" of ideas. I used an harmonic ostinato by circle of fifths that repeats during all the piece. I haven't decided the dynamics very well, and don't sure where to add some more slurs. First time composing for string quintet, and for strings in general, hope there are no parts impossible to play. I add 2 audios, one with strings sounds and other with just piano, because some details are hardly noticeable because of the sound I used and my poor mixing. Any feedback is apreciated :3
-
My hand at a relatively short miniature form created by another member on this forum @luderart I'll be adding some more here as I develop more confidence in writing these type of pieces. So far, this was an enjoyable exercise in brevity. Love it.
-
Hey everyone, Here is the piece I composed this semester for my composition lessons at university. It's about 18 minutes long, so if you only want to listen to and review a small portion, that's totally fine. This piece is still under revisions, so any feedback is welcome. Thanks! https://www.youtube.com/watch?v=C2Z780ZKZIY
-
symmetry Aldor: Song Cycle for Cello & Piano [POOR FORM ENTRY]
Tónskáld posted a topic in Chamber Music
I present, for your listening enjoyment (or revulsion), my entry for the Poor Form competition: Aldor, a song cycle for cello and piano. This work is a study in symmetry. As you're probably aware, tonality in music is determined by asymmetry; the intervals between notes in major/minor scales are arranged in certain tone-semitone patterns from which the human ear can determine a "home" or key for the scale. By introducing symmetry into the 12-tone scales that Western music uses, one removes a sense of tonality and instead produces atonality. French composer Olivier Messiaen further explored this in his work, "The Technique of My Musical Language." He fleshed out 7 symmetrical scales, which he called modes of limited transposition. These symmetrical scales form the basis of the harmonies you're about to listen to. The word "Aldor" is Old English, and means "life" or "vitality." This work, in impressionistic style, describes a life cycle from beginning to end—itself a form of symmetry. The opening theme is developed and undeveloped gradually across five movements, each representing a milestone in a life cycle. I have given a brief description of each movement below. Waccan. From an Old English word meaning "awakening," the opening movement presents the "cycle theme" via solo cello—simple and unadulterated. After that, the cello and piano conflict with each other in a murky 5/4 meter, closing in an F# major chord. The symmetrical scales used here are Messiaen's 1st and 2nd modes. Astígnes. This movement, meaning "a rising up or ascension," begins with a piano rendition of the cycle theme. It is afterwards joined by the cello in a dance-like rhythm and tune, reminiscent of a bouncing toddler or an empire sputtering to life. This movement features Messiaen's 2nd and 3rd modes. Hréð. The mesial movement means "triumph, victory," and represents the power of the height of a life cycle. Piano and cello combine to bring the cycle theme, followed by the most dramatic 4 minutes of the entire song cycle. This movement boasts the most virtuosic passages for cello and piano, and is based on Messiaen's 4th mode. Sweðrung. The fourth movement mirrors the second in some ways: the piano brings the cycle theme, and the tempo and rhythm are scherzo-like. However, this movement, meaning "corruption or decline," is in a disturbing 5/8 meter and lacks the "major" overtones of the second movement. It uses Messiaen's 5th mode. Ellorsíþ. The finale begins with an emotional delivery of the cycle theme by the solo cello, which is afterward joined by piano in a slow, rhythmic 9/8 meter, reminiscent of a boat sailing to undying lands (the title means "departure, journey to beyond"). Like the 4th movement, this movement mirrors the first. It also contains themes from every movement that came before it, albeit in reverse order: 4th movement themes come before 3rd movement themes, and so forth. The ending epilogue begins with a simple restatement of the cycle theme from the cello, finally joined by the piano as the cycle closes in a whispered F# major chord. This movement is based on Messiaen's beautiful 6th mode, which contains the 1st mode (cf., the first movement). This was a lot of fun to put together, and I'm grateful for the structure this competition provided! Here's a link to the songs via SoundCloud: As an amateur linguist, I would be remiss if I didn't provide some guidance on the pronunciation of the titles. So, I'll leave you with that: Waccan—WAHK-kahn; Astígnes—ah-STEEG-ness; Hréð—HRAYDH*; Sweðrung—SWEDH*-roong; Ellorsíþ-EL-lor-seeth* *"dh" is a voiced th as in they; "th" is an unvoiced th as in thanks -
Dear all, This work is written as an Entry piece for the Poor Form Competition. Please check the playlist in Soundcloud: It's again a long time since I upload any of my new works. And yes, I faced many personal and social challenges, and probably I reflected those frustrations and fear in this piece. For the (fantasized) story, here is a short plot: Mov I - Born in Chaos: It is depicting the early life of the Prince born in a falling and chaotic empire. The Prince (As in the heroic theme, uplifting as in Strauss's Poems) is the only thing that gives hope for the empire. The rest of the passages are all dark and spreading horrors, mimicking wars and famines. Mov II - Prince's Troops: The Prince is now a young leader of the empire. The troops he recruit show their power to his people and march to the battlefield. Mov III - Rite for the Dead: The Prince has won the battle and settle the threats. In remembrance of the dead, he holds a ritual for them to praise their contributions. All souls are remembered and blessed. I am enjoying this challenge and I hope you enjoy this work, too! I have planned to write more movements on this theme, but due to the deadline I shall submit these 3 first. (Tell me if you think there can be more! :D) Best, HoYin -
Hello all. I have recently remembered about this piece that I composed for a workshop back in June. The pieces were recorded at the end of it, and I can share it with you now. I decided to write for Piano Trio. The movement starts and ends in A major, but has sections in other keys. It is in a rough sonata form with two contrasting themes. The main idea has a seemingly random dotted rhythm, but it actually fits in a 5/4 beat shown at the end. The second theme also fits into the 5/4 section for its recapitulation. I am mostly happy with the recording, except for perhaps the final few bars. We only had one rehearsal before the performance and recording so I thin kwe did well. Any mistakes by the violin and cello are due to under rehearsal - any mistakes by the piano are due to me not practising enough beforehand! Hope you guys like it.
-
The first (attempted) Symphony, written by the young composer, Drake King.
-
Good morning (at least where I live 😅) 🙂 I wanted to try to write something for cello solo, with the (I'd say rather poor) knowledge I have of the instrument. Here's the result : Have a good day 🙂
-
Hey gang, I posted this piece earlier when I was in the middle of writing it. Here is the finished product. This is the piece I composed over the spring semester during my first semester of composition lessons at the university I am attending. Please enjoy and let me know what you think! (P.S. Evidently when you use Petrucci font in Finale, the tremolo stops working, so that's why it appears in the score, but is not in the MP3 [do the midi problems ever end...?])
-
**Re-uploaded due to file attaching issues** A piece written for a composition assignment. This piece is 12 tone and I have attached the tone row matrix I was working from. This is how I submitted it but I have a few issues with the tempi in certain parts as well as the general form. All feedback welcome ☺️
-
Guten Tag! This is one of the projects I have been working on this semester! Feel free to check out the concept behind it at this blog post: Composition Notebook: "Morning Birds" - the story. What I am attaching for ya'll is the full score (which includes the cues for the three different flute parts, but not the actual parts), one of the flute parts (so you can see what they look like), a MIDI rendering of all the orchestra and flute parts combined, and a MIDI rendering of just the orchestra part (Titled "Three Violin Version..."). One of the flaws of the combined MIDI file is that the flute parts are made up of several short fragments/'bird calls',as you will see in the attached flute part, and the players will be improvising which bird call they play when. In other words, it will be a much more organic process than a computer just playing them all in order, as happens in the recording. I think the MP3 of everything combined sounds pretty terrible and clamorous which is not at all the intent of the piece. I suspect that this chaos will be lessened considerably when real players are performing this. If anyone has experience writing this sort of thing, I would really appreciate any advice you'd have to offer. Also, I am happy to hear comments from anyone about this piece, whether they be about the orchestral writing, the special effects, or anything else. Thank you and enjoy!
-
Hey there, Here is another piece which I have been working on this semester! I really need to come up with a fun title, so if anyone has any ideas, please share! Also, I am happy to hear any comments on this work. It is in four movements, and I hope that you enjoy each of them (my personal favorite is the third one - 'Largo'). -
Hi all 🙂 Just wanted to give it a try to a duet between a recorder and a cello... Here it is ☺️
