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  1. 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.
  2. 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!
  3. 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!
  4. 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 had been waiting around in the back of my mind for years, and the idea for this little divertimento was born. Most of this work was written by hand while lunching in my car. The term divertimento denotes a multi-movement work that is light in character, for the diversion or amusement of the audience or players (or both), as the name implies. This one is in three movements, and is modeled after similar works I have played and heard by Joseph Haydn (1732-1809). It is quite short, much like Haydn’s examples, lasting just under 10 minutes. Description: The energetic first movement (Allegro di molto), in sonata-allegro form, is dominated by a dynamic 4-measure opening motive that I have had in my mind for many years, which I found opportunities to develop throughout the movement. The contrasting second theme, smoother and calmer than the first, is stated canonically by the two violins, accompanied by a chromatic accompaniment figure in the ‘cello adding harmonic complexity. The opening theme is then restated and developed into a codetta to close the exposition, which is then repeated. The development section treats part of main theme in close canon, modulating to distant keys to develop the second theme before making its way back to the tonic B-flat for the recapitulation, and the movement ends with a short coda, again based on the opening theme. The second movement (Andante), in the subdominant key of E-flat, is in the simplest of binary forms (ABAB), and begins somewhat statically, setting a mood of calm to contrast with the verve of first movement before gradually becoming more florid and interesting starting in m. 6. The second theme is a pretty melody I have had in the back of my mind for at least 30 years, patiently waiting for the right application, and now it has a place at last. The second time it comes around, the eighth note accompaniment is changed to sixteenth notes for variety. The movement closes with a very short coda, a varied restatement of mm. 11-12. The third and final movement (Allegro giusto, alla breve), originally conceived as the aforementioned counterpoint exercise, is a light-hearted fugue in an Italianate style, on an original 6-measure subject reminiscent of Handel. There are four statements of the subject by each of the instruments, including statements in stretto and an inverted statement, interspersed with episodes developing foregoing material. The movement closes with a coda based on the rhythm and contour of the last measure of the subject, on a pedal B-flat in the 1st violin and ‘cello alternately, ending in a plagal cadence. Concerns: 1st Movement – I’m a little worried that perhaps I have overdeveloped the opening motive by repeating it too often, even if I vary it – particularly the four chords at the beginning of it. I’m open to the idea of reworking the movement slightly if I get a lot of feedback that this is a problem. I love developing themes, but I want to avoid monotony. 3rd Movement – I’ve been writing counterpoint as a serious avocation for years, having listened to a lot of it and read several books on the subject. I even authored the very popular “Fugue Crash-Course” here before I knew as much as I know now, yet I still feel insecure and mystified. I try to proceed confidently, but since I have taught myself everything I know, I constantly worry that I’m making mistakes out of ignorance. It has happened before several times. I want to make sure what I’m doing is “by the book,” so if any of you notice anything in this fugue that you know for certain is wrong or mishandled, I want to know about it. I hope you enjoy this little piece, and thank you for your kind attention.
  5. 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 proud) without being obvious about it. One hardly realizes that motives are continually being developed throughout both the first and second movements, in as unassuming a manner as possible. It is in three movements, and lasts 10-½ minutes. Description: The first movement (Allegretto grazioso), in Sonata-Allegro form, opens with a lilting, graceful theme of rising steps that ascend the scale in slurred pairs, followed by a series of descending scales in skittering triplets, and a few “sighing” gestures, that together I feel form one of my prettiest melodies. From it are then extracted the following three discrete motives that are developed almost constantly throughout the movement: The playful second theme contrasts with the elegance of the first before a pair of turns and a florid cadence transform it into something more refined. The development section further explores the possibilities of the various motives around a central sequence, and culminates in a rising and falling series of coupled steps (motive 1) on a pedal tone that brings the music to a very satisfying return of the opening theme in the recapitulation. The second movement (Andante), in binary form, is in the subdominant key of B-flat, and opens with a coquettish theme from which, as in the first movement, are extracted the following two discrete motives that are developed elsewhere in the movement: This theme is then repeated in the tonic minor, and through a surprising modulation makes its way to the movement’s dominant key of F. There is no second theme per se, but rather a contrapuntal development of the foregoing motives. The third and final movement (Allegro giusto, alla breve) is a rollicking, rather wacky fugue (how often does one hear those words together?) on a jaunty subject, beginning on a syncopation, and characterized by an unexpected, dissonant suspension, accented sforzando for humourous effect. The bass line to the subject, introduced in the ‘cello, is worked canonically into the entire exposition as if it were a second subject; hence the exposition functions much like a double fugue, though it doesn’t continue that way. I didn’t take the construction of this fugue too seriously (this was not a counterpoint exercise in earnest), being more interested in keeping it light and quirky; and although the subject begins on the fifth degree of the scale, I decided against the pedantic complexity of devising a tonal answer in the exposition – though otherwise it proceeds conventionally for the most part. Passing dissonances run rampant, and transitions and modulations are often purposely abrupt, taking unexpected turns intended to raise eyebrows, and a smile or two. After a final sequence on a pedal tone and a truncated statement of the subject, even though it feels like the movement should continue, in a rush it throws itself headlong to a sudden, crashing finish as if it hit a brick wall at a run. This is probably the oddest piece of counterpoint I’ve ever written, but I feel the jocular treatment of what is usually by its nature a serious form contrasts well with the sunny warmth and charm of the previous two movements. Premiere: This work was premiered in July 2016 by members of the Octava Chamber Orchestra, a community orchestra in the Seattle, Washington area, as part of a unique concert of Baroque and Classical music by living historicist composers. Although I regret I could not attend the performance, I did receive the recording of it that I have posted here below. The outer movements are played a bit too slowly, and there are some mistakes and inaccuracies; but I’m gratified that the players took the piece seriously and made a sincere attempt at a sensitive interpretation. Overall, it’s one of the better performances I’ve ever received, and I’m quite pleased (to say nothing of being honoured, and very fortunate). Musicians’ and Audience Feedback: My contact with Octava, who played 2nd Violin at the premiere, told me that the musicians loved the piece. Though they found it somewhat challenging here and there, they said it was well written for the instruments and a real pleasure to play, just as I had hoped; divertimenti are supposed to be fun! It was the first work on the programme, and was very warmly received by the audience. Thank you for your kind attention, and enjoy!
  6. 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!
  7. 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.
  8. 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 (March 6, 2017, 4:25GMT). So if anyone downloaded the previous score, please disregard it and download the current one.
  9. 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 you reply, begin writing under the proposed guidelines and instrumentation and before the prescribed date. Try to follow or include some or all of the guidelines when composing! Also, try to stay within those guidelines and don't try to overextend the purpose of the lesson. Basic Rules: 0. A position on the cello simply means where the left hand is on the fingerboard at any given time. Higher positions are closer to the bridge (the "bottom") and lower positions are closer to the scroll (the "top"). In general, try to stay in the low to middle range. 1. Long crescendos are typically played up bow, in a slur, since gravity plays the peak of the crescendo much better as a down bow. 2a. In standard 2 or 4 bar phrases or rhythmic systems, the beginning of the measure is down bow, and the return at the half bar is up bow. 2b. Down bow is considered the more powerful of the two bows. You can use this to your advantage and have passages with only down bows to really accent a passage. Keep in mind that a lot of down bows in a row in a fast tempo is hard for the performer. 3a. Cellos have the open strings (from lowest to highest), C G D A. This means they are a fifth apart and double stops can be written in a variety of distances from each other with that in mind. Double stops must keep this in mind, and you cannot skip over a string to play a double stop. 3b. Try not to write fifths though, as they are hard to tune. 3c. Thirds are also not always welcome unless they are in a lower position. 3d. Fourths are fine, but remember they will sound awkward due to traditional voice leading rules. 3e. In the lower positions of the cello (closer to the "top") the maximum interval for a double stop is a minor seventh, nearer the high positions, octaves are more acceptable. 3f. Despite being inversions of each other, avoid seconds if possible. Not only are they are to tune, 4. Slurs are NOT expressive or phrase markings. They are bowings. Dynamic markings are your best bet for marking a phrase. 5a. When writing fast passages, try to avoid using a lot of double stops, except when there are a lot of notes in the same position in a row. 5b. When writing fast passages, keep in mind that the positions the player have to traverse should be relatively close or static as you transition. Basically, avoid too much jumping, unless an open string is involved. 6a. Tone becomes a lot less clear the higher you go up on the cello, especially double stops, but also can be strident if you want to have a dramatic peak. 6b. This is especially true for pizzicatos. 7a. Pizzicatos (marked pizz.) follow the same guidelines as double stops in terms of fingering, but are not bound by the curse of having to cross a string. 7b. Fast pizzicatos could not be considered highly. 8. Do not include too many double stops in a row, unless the passage is extremely virtuosic, but we will not really consider that for this lesson. POST COMPOSITIONS IN THE COMMENTS BELOW WHEN FINISHED. DO NOT ADD AN AUDIO FILE.
  10. 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.
  11. 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
  12. 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 bittersweet feeling that causes. The louder bit is supposed to be a rush of memories and the emotions they bring. Thanks!
  13. 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!
  14. Hi guys, I'm the self taught musician from this previous post : I just worked on this new composition - and I got also inspired by some of your feedback from that previous post. As I have no theoretical knowledge whatsoever about composition and learned playing by ear, I try to follow your comments that get quickly technical for me sometimes :) Your feedback would be highly appreciated! Nizar
  15. Hi everyone, first post here. I'm Nizar, I learned to play piano (on a synthesizer) empirically and only by ear through the years. I never took a lesson nor studied anything related to music or composition, so I'm quite ignorant about many aspects. However, I really enjoy the act of creation in music. I never thought of entering a composers' forum, so here I am. I'm extremely curious to get your feedback, it will be much appreciated, starting with this piece : Thank you! Nizar PS : I use Reaper and Kontakt for recording, as Virtual Instruments are 100x better and more realistic than my synthesizer. PS2 : I just bought a Kawai "stage piano" (ES8) last weekend, so the experience of playing is radically different and my inspiration is sky-rocketing :)
  16. With this I used a lot of the new software I've purchased from 8dio, except the cinema trailer sound effects which were bought seperately. I'm still pretty new to all of this new software and sounds so this more experimental if anything. There are literally thousands of sounds with these new software bundles and the ones here are just a few out of the thousands of others. This makes me really excited about the possibilities. Simple chord progression etc. Hope it sounds ok...
  17. Hi everyone, This is a piece that I was asked to write as a member of NMSW Young Composer's Academy. What do you lot think?
  18. Guest

    Nymph's Sleep (Opus 17)

    A small lullaby thing I did for my Music Production (high school) class. The only objective was to produce a piece that will be exactly 2 minutes (my exceeds 120 seconds, but only because of the delay and reverb - I had to leave two empty bars for the sound to go down). I also tried to experiment with the harmony. It's a bit flexible, balancing between C major/minor and G major/minor. I just wanted to get out of the frame of choosing one key and using it's parallel or relative key. On the other hand, I do not want to write atonal music. Nymph's Sleep is written for two harps, glockenspiel, small string section (violoncellos and bassess), flute and bassoon, celesta, and synthesizers (bell synthesizers with a lot of delay). There is no score for this composition yet. Thank you for listening and let me know whether it's harmonically bearable - I did not study harmony yet.
  19. Hi everyone! Here's my piece for flute, violin, cello, and piano, called "Mystic Lands". It's a rondo, but when the A section returns, the instrumentation, harmony, and accompaniment are changed. I also wrote it for a class, so I had to use different harmonic techniques for each section: -For the opening section, I used static harmony/pedal tones. -Letter A uses polychords with major and minor triads. -Letter B uses added note chords. -Letter C uses polychords consisting of seventh chords, quartal structures, quintal structures, and clusters. -Letter D uses compound chords (meaning various intervals are combined to create a non-tertian voicing). Hope you all enjoy!
  20. Finally made some real progress on my first "real" quartet. I just finished the first movement of a planned 3 or 4, and figured I would get some feedback. I usually like to share the story behind my pieces, so here's the story to this one: Back when I was just starting to get interested in serious composition, I was looking for good ideas. At the time I took brief trip to New York City, and decided I would write a quartet trying to depict the city (in no small part inspired by the fact that I was at the time working on Dvorak's American Quartet with my group). The initial rhythm in the viola and cello (used to depict the train) I came up with then. I tried to write it out (I finished it about six months ago), but due to my inexperience with composition the piece developed very differently from what I had planned, ultimately being a nice piece that I'm still proud of, but still a fairly simplistic single movement piece. Finally I am returning to this idea, more experienced than before, and I'm pretty satisfied with how it's progressing so far. Hope you enjoy!
  21. Blissful Morning (Opus 15, classical version) written for piano, flute, violoncello, and a little dose of synthesizer in the finale. Originally, I planned on adding a toy piano sound, but unfortunately my software (Logic Pro X) doesn't have one. Instead of that, one of the syntheiszer leads has been added. The piece is written in F major entirely. I was trying to not jump too much in the rhythm sections or harmony, since my music teacher advised me to try to stick to one idea - sometimes less is more, and ideal doesn't mean perfect. If you like this version, please check out the electro one available on this site too! Thank you for listening, any helpful hints and comments!
  22. A suspense action music I made for the walking dead attack scenes of my game, "Space Anomaly" where a rescue team is sent unto an orbital research compound when they received a distress call 48 hours ago. They then found no trace of the crew but found some blood stains in the floors and the walls. What they don't know is the crew was infected by an alien virus that came from the artifacts they obtained from planets, eventually turning them to walking dead. Accompanying videogame for the music: The music is orchestral, accompanied by electronic ambient effects and a subtle vocal choir.
  23. Hey , firstly stoked to be part of this community , so i recently composed this piece for an inspirational video. if you got a minute , do check it out here and lemme know what you think about it ! Cheers :D
  24. Hey guys! Here is just a short little arioso for cello and piano that I composed a few months ago. Let me know what you think as always.
  25. "Variations on a Wanderer's Theme" for Solo Cello, based on the Shakespeare play, "Hamlet". This is my entry for the Summer Composition Competition.
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