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  1. This is my first post on this forum, I am looking to get some feedback on a piece I have been working on recently. The chord progressions are of constant structure, non-diatonic major chords, switching to non-diatonic minor chords for the second section. Be warned, I am a big fan of dissonance; if it's too much for you please don't hesitate to include that, I sometimes go a little over the top after listening to the same thing over and over, and I don't realize until later. euphoralgia.mp3
  2. Hi Guys! This is my first post. I would love to hear your opinions on my take on: The Rains of Castamere, the most epic song from Game of Thrones.
  3. Not sure if it fits in the topic, but here is a vocal cover with orchestration of The Rains of Castamere from the Game of Thrones series. Hope you like it and Id like to hear your thoughts!
  4. This is my latest cinematic orchestral piece "Gone". I would appreciate your feedback and suggestions. Click the YouTube link below: "Gone" by Karisa L. Clark
  5. hello, This is my new string quartet composition. Just listen, and share your opinion! Thanks! :)
  6. Morning, Not posted here before, but seems like the sort of place I might get useful feedback. I've been composing in a few different styles for quite a while, but this seems to be the most genuine sort of sound for me at the moment. I'm not sure I can justly call it 'chamber music' so any better category suggestion would be welcomed!
  7. This piece here, despite the timing and the name of the piece, has nothing to do with the solar Eclipse this year. This piece was actually written back in 2012, and I've recently remastered it. It was wrote back when I was still very much into the ponies, and was actually inspired by Luna. The intro is meant to be grand, and fade into a sense of regalness while still keeping a dark undertone, signifying Luna's dark past. This piece starts off in f# minor, and then hits a mood change and goes to A Major in measure 82 until the last segment of the piece which is a modified version of the melody
  8. Hello, I am writing a composition including Cello and I would like to know if the double stops below are playable. Please help me! Regards, Maarten
  9. Hi all, this is my second Quartertone study, which I wrote in 2013, in my first semester at the Vienna University of music and performng arts. Looking forward to your feedback.
  10. Hello, I'm new to this site. I only got into music about 3 years ago (I'm 19 now) and I need help because this is my first composition. So I understand most musical jargon, but I'm wanting to study Composition next year at a Music Conservatorium. Constructive feedback would be awesome! I know the piece isn't perfect which is why I need help!
  11. I would like to share with you my new composition. It was exceptionally painful and frustrating to finish, but I hope that those emotions added a bit of an artistic and melancholic spice to this silly little piece. Enjoy and thank you for listening.
  12. 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
  13. 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 cla
  14. Divertimento a 3 in B-flat, for 2 Violins and Violoncello I. Allegro di molto II. Andante III. Allegro giusto, alla breve Composed: April 4-17, 2017 Style: Classical, circa 1790 I enjoy spending my lunch hours at work productively when I have the energy, sketching or doing exercises. A couple of weeks ago I started a counterpoint exercise that I worked on for the next couple of days, and it turned out well. The thought occurred to me that perhaps it might serve as a movement in a larger work, in which I might also use some old ideas that
  15. Divertimento a 3 in F, for 2 Violins and Violoncello I. Allegretto grazioso (3/8) II. Andante (2/4) III. Allegro giusto, alla breve (cut time) Composed: 2011 Style: Classical, circa 1790 This work is the first of two such divertimenti for this instrumentation I have composed to date, the second of which having been written and posted here just recently. I consider it one of my more charming and attractive works – a personal favourite – and among my most ingenious, a tour de force of development and counterpoint (of which I am very pro
  16. Hello everyone, I'm new to this site, but it looks like a good place to get some feedback. Please take a listen to the attached piece for string quartet and let me know what you think!
  17. 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 fo
  18. This is my 12th soliloquy for vioncello. I composed it in response to Monarcheon's "Solo Cello Writing Challenge". It was inspired by the following respectively: 1) Learning about the challenge 2) Hearing distant, barely audible, dream-like notes of music probably from the radio of a car that I heard late at night 3) A more personal inspiration. Here is the link to my previous soliloquy for violoncello: http://www.youngcomposers.com/archive/music/listen/7696/soliloquy-for-violoncello-no-11/ Edit: There was an error in the opus number of the piece. I corrected it just now
  19. Instructor: @Monarcheon Students Allowing: 7 Initial Writing Requirement: 32 - 48 bars, cello + piano Initial Writing Requirement Deadline: March 15th Please do not sign up for the masterclass if you know how to write the basics for cello. Here's masterclass No. 1! Monarcheon is a string player herself and can provide lots of good basic instruction for string writing. This masterclass will focus on bowings, pizzicato and left hand position. Please reply in the comments if you'd like to receive catered feedback on these two things. She'll take up to 7 students for this lesson. Once yo
  20. Hi everyone, After listening to J.S. Bach - Crab Canon I thought I'd have a go and write one too. (It's a good composition challenge, I'd recommend it) https://soundcloud.com/maxmitchellmusic/crab-canon NB: To anyone who's interested, a crab canon is a piece where the melody is played, then played backwards (or retrograde), and then the retrograde and original melody are played simultaneously.
  21. Hello everyone, It's a very short Theme. I am not sure what to with it... Composing a B part and then repeat the beginning? Hope you enjoy it! Best regards
  22. Hi, I'm new here and this is my first post! I was wondering what people thought of this thing I wrote a couple of months back, having joined this morning. I haven't been able to get any feedback from my music teacher at school (I'm in year 8, or, in the US, 7th grade) and want to know how I can improve it. Although I've had lessons in flute, recorder and, currently, bassoon, I don't have any training in composition, and think that the constructive criticism here would help me improve as a composer drastically. It's based on looking back at the past with joy and sadness, and the bitterswee
  23. Guest

    Opus 22

    Very random thing I made recently, not knowing what's going on actually... I strived for something between instrumental and ambient/free form. I used very low piano keys on purpose, just to make it clear - restricting yourself to only middle range makes everything too crowded and not very imaginative. Plus, I love low pitches, so deal with it! I'm extremely worried about the transitions between different musical ideas. A casual track for sipping warm tea in a cold, snowy day, I guess. Thank you for listening!
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