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So I wrote this piece little over a year ago and it was my first time writing for harp. If any of you play the harp, I'd especially appreciate it if you could just have a look through the harp part as you listen, just to see if there are any mistakes that should be fixed. Also ... Harp Question: Should I put pedal diagrams in; leave it blank, so that the harpist can work out the best pedalling for themselves; or somewhere in the middle (like maybe at the beginning and at certain rehearsal marks)? Program Note (if you're interested): The inspiration for the piece came from Rautavaara’s Cantus Arcticus, subtitled Concerto for Birds and Orchestra, in which Rautavaara incorporates tape recordings of birdsong’s in northern Finland and near the Arctic Circle. In “Le Jardin”, I transcribed the call of the cuckoo and used it as a leitmotif for the middle piece. In “Dawn”, at rehearsal mark A, flute 1 plays a bird song like melody which at rehearsal mark B, is imitated by the rest of the woodwind. This imitation at B represents the birds calling and responding to each other as well as the animals waking up and the day beginning. For the third piece, I wanted a contrast to the first two pieces. I decided to write a light, humorous, polyphonic piece and ants seemed like the clear choice. In “Ants”, I have the melodies enter one after another, like ants walking in a line.

I'm sorry?

This is a little sketch that is not in any form or style. If anyone has suggestions and comments, please give them. Thanks! Revision notes: Thanks everyone for the comments. Here's the next edition of it. Again, I'll take any feed back -Thanks

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!

Hello, this is my second post and my most recent music on the theme Non-sense. This is not to be taken seriously but as a musical parody, I aprecciate if you give me your feedback!

Hello everyone, This is my very first post here on youngcompers. I would like to have your feedback on one of my latest music "broken" which is a very, very short instumental music. This piece is part of my new project called "Non-sense" where I try to push music to the absurd and unbearable levels, but still maintain a musical structure. I hope you like it! For more pieces like this visit my blog : http://antimusicale.blogspot.pt/

First post here so here goes nothing. This work is part of an ongoing project I have entitled "The Cosmos Suite". The project is meant to capture specific aspects of space, primarily seeking to answer the question "What does space sound like?" In this instance, the work seeks to capture the serene beauty as one drifts amongst the star throughout our universe and witnesses the natural beauty of it. The strings provide the backdrop of space and the stars while the horn and trumpet call to each from across the void. The work is scored for solo horn, solo Tpt, and chamber strings.

Hi Everyone, this is a Christmas piece I composed about two years ago, just a simple piece for bells, but I think the melody is catchy and has a Christmas-feel to it, so I hope you'll like it. Merry Christmas everyone!

This is my modest entry for the 2016 Fall Competition. It's a set of variations for solo alto recorder, recorded in my not-even-close-to-a-studio bedroom. It's me playing it. More information can be read in the Notes pdf file. A link to an actual presentation of the original theme (an anonymous folk music) can be watched here (there's a short lively intro before the music starts): Variações sobre o Siriá.mp3

I've been studying violin instrumentation for a bit, and the last resource I looked at was a video by Thomas Goss on unaccompanied violin scoring. At the end of this lecture video, he asks the viewer to compose a 2-3 minute piece focused on lyricism and craft. This is what I came up with: my first attempt at violin scoring. The playback on my notation software is pretty crappy quality, so just to be clear, I mean the quadruple stops to be two successive double stops, favoring the top two notes. And the accelerando does not really stop at m. 39, that is just another inconsistency with my notation software. :/

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!

Hey guys! So, I'm a little mentally exhausted -- I'm just after writing nine pieces in the past three days (which will all be uploaded soon.) This is my first true chamber sonata for oboe and piano, and I hope you guys enjoy. I really enjoy writing in this form, so let me know what you think and thanks for the help.

This is my entry for the Shakespeare contest. It's an elegiac song upon the famous Macbeth's soliloquy. Hope you enjoy^^

This is an edit I did to a piece I wrote for school. I wanted something a little more professional sounding and not so humorous. I added a prelude to the fugue to give it some length and more opportunity to show my writing. I plan to use this as part of my portfolio for college, so any suggestions are welcome. Doesn't have to be about the piece, could be about what else to include in the portfolio. Sheet music is also available to see any engraving issues. There's probably a lot.

This composition was created in 2004 for here presented quartet. So far it is quite successful: performances in Slovenia, Croatia, Belgium, USA, New Zealand; published by ALRY Publications and won a prize by National (American) Flute Association in 2014 as the best flute ensemble piece published in USA. I can't complain at all When composed, I also considered it as one of my finest chamber composition. It was pretty bold for me back then, today I'd probably try something even more daring. The title refers to yearn for something that seems impossible to reach but eventually it happens!

What are some good pieces to study brass chamber music writing? I have an assignment to write a brass duo/trio (I chose a trio) due Friday and I haven't been able to find anything decent.

hello! Can you give me advices on writing for harp... and if you have some time please check this harp part and comment http://www.youngcomposers.com/music/1336/a-naked-lunch-suite-help-on-harp-part/ can someone help me please...! Thank you

So tbh, I have no files to upload yet, as I have just started this project. I WOULD start a topic in the "incomplete works section", BUT encountered the following problem: because i have just started the project, and just wanted to upload some background info, Notes, etc. to comment on or share or whatever, It wouldn;t let me start a topic there. so here goes. Shir L'hodot, or "song to thanks" is a piece for concert band (with added solo bass and solo cello) which is intended to showcase some core concepts of judaism by painting them in music. Despite the title, it is in reality centered around 3 "prayers" and snippets and segments of their traditional melodies (which have been around for hundreds of years): Kol Nidre (All Vows), Sh'ma (Hear), and Aleinu (Duty). So some background information on each. Note: I am specifically leaving out the k'dushah (Kadosh, Kadosh, Kadosh hashem tzivaot - Holy Holy Holy is the lord of hosts), because it was ripped from the Hebrew about 800 or so years ago for the Catholic Sanctus. REALLY no offense intended to Christianity and Christians, I love you guys all the same, but I would like to keep as far away from those texts as possible within this piece. I really don't want this compared or contrasted to Christian Sacred music, on any level. Kol Nidre: it is a prayer that is sung only on Yom Kippur, has a main theme of judgement and annulment, and specifically represents forgiveness. This theme prevails on the cello, most times that it appears throughout the piece. it is a haunting melody, that is in a prevailing key of D Minor. Sh'ma: it is a prayer that is said every day. Some background before I go into its importance: Jews are forbidden to say blessings in vain. So... when there is a fear that a blessing or prayer is being said in vain (i.e. you think you have already said it for the situation, etc. but are not sure.) you are supposed to follow it up with the line "baruch shem k'vod malchuto l'olam va'ed" which means "bless your name and glorious kingship, which shall abound forever", which in essence annuls the blessing. However, there is one blessing that is of such magnitude, that we are unable to recite it without the additional line in our current lifetimes. This is the Sh'ma, which is a blessing for oneness and unity: "Sh'ma Yisrael, hashem elokeinu, hashem echad" or "hear o' israel, the lord is our god, the lord is one", a core concept in judaism. Aleinu: it is a prayer recited every day which details our duty. The central line/concept is the phrase "V'Anachnu Korim, U'mishtachavim, u'modim. Lifnei melech, malchei hamlachim, ha kadosh baruch hu.", or "and we bend our knees, bow, and acknowledge our thanks to the king of all kings, the holy one, blessed be he". So the way it will be organized within the piece: The piece will begin with a cello solo with a bass pedal tone, the introduction from Kol Nidre, followed by a bunch of original material inspired by traditional semitic melodies. the "flavor" of the piece will change dramatically as it approaches its apex, changing into a fanfare-ish style, where it will play out first as a low brass interlude the melody of the Sh'ma, transitioning into a full-band fanfare of "V'Anachnu Korim". It will then descend back into a flowing minor feel, followed by a decrescendo to the end, with a pedal in the 1st trumpet and polychords in the middle and low voices. A caesura, then another phrase from Kol Nidre, solo Cello, followed by a final minor chord, pianissimo. Let me know what you think of the ideas. --- Aaron Coff