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  1. Hello everbody, This is my first serious choral composition, which I composed to practise counterpoint and voice leading. The piece is an Ave Maria, but the language is Dutch, which made it quite hard to compose music on. It is a hard language regarding accentuation. Dutch text: Wees gegroet, Maria, vol van genade. De Heer is met U. Gij zijt de gezegende onder de vrouwen, En gezegend is Jezus, de Vrucht van Uw schoot. Heilige Maria, Moeder van God, Bid voor ons, zondaars, Nu en in het uur van onze dood. Amen. There is trouble with the audio in this topic, so here is the link: Nevertheless, I am pretty content with it. What do you think? Tips are welcome! Maarten
  2. A buddy of mine (Gareth Hearne) wrote this microtonal Sanctus in what's called "porcupine temperament", and I finally got around to making a recording of it: Similarly to how western music has a circle of fifths, Porcupine Temperament has a circle of small major seconds (approximately 160 cents wide). It approximates many intervals of the harmonic series as well or better than standard western tuning, especially the 11th harmonic. (Kind of like how barbershop singers sing their minor sevenths or augmented sixths flat to be in tune with the 7th note in the harmonic series, porcupine has a "fourth"-ish thing that lines up with the 11th note in the harmonic series and it, I think, blends very nicely!) If you have any questions on the theory I'd be happy to talk about it, thanks for listening =)
  3. It is my first composition for choir, it was composed in 2016, as an "illustration" for a music theory dissertation. In the piece I used a special self-developed tone-organization stucture, which is based on quart. This composing system is quite important in my progression as a composer. The poem was written by Endre Ady, who was a hungarian poet in early 20th century. The piece is performed by Allegro Barbaro Chamber Choir in Budapest in the May of 2017. I am curious, what you think about the composition, so enjoy it, and share with me your experiences. Thanks! Ps.: Sorry, I forgot the score, but it's been attached now.
  4. I apologize for the quality. Unlike my other pieces whereas I wore studio grade headphones (which died on me after six years) I am now limited to ear buds, so mixing was an issue for me. There's so many sound flaws here I'm embarrassed to even upload this. You can barely hear the choir, the flute fades in and out, the clarinet can't be heard, and you can't even hear the viola or cello...ugh.
  5. Hi all, well I've just wrote this score sheet and I've just used choral, strings and also brass. I wanted to develop that in film score style. So I've just imagining an Empire collapse and what happen after dying an emperor. At result I've just develop this music. I'll be happy if see your comments. Thanks
  6. Very recently I have been exploring vocal music, figuring out how it differs from instrumental music and how it similar. It took me some time, but I've started to get the hang of writing semi-acceptable vocal music. A couple of days ago an idea popped into my head. "What if I wrote a piece of music for a choir, but had multiple languages being sung by different sections of the group." I suggested it to some of my "non-musician friends" (of which I have plenty), but they immediately shot the idea down claiming that it would sound too strange and jumbled. This leads me to my questions: 1. Is it acceptable to write a work like this. My worry is that it may be messy, but I also would enjoy exploring the boundaries of vocal music. 2. Has such a piece been written before? I have searched for such a piece, but have come up empty handed. If you know of one, I would love to hear from you! 3. Can exploration go too far? Is there a point when music becomes more of a science than an art, and is that okay? Obviously creating a balance between chaos and order between the languages will be one of the most difficult things to achieve, and it may become "scientific" in a way. I would love to hear your opinions on this topic Thanks! Charlie Carroll
  7. This is a minimalistic piece I wrote for the Feast of Corpus Christi. The melody I think is easy to sing for any amateur choir. I did not want to write a poliphonic and 'large', massive piece. I tried to express the beauty of the text by it's simplicity. You sing the verses between the repeat bars ( not needed to sing all of them), then you sing the 'Amen. Alleluia.' part. In theese short minimalistic pieces, I always let the conductor decide the dynamics and the accelerations-deceleration. Only the most important of them are written. As the harmonies I used, I'm open to any suggestion, that helps me to make the piece more likely fit in the mood it has. There might be more proper solutions I did not take into consideration. Thanks!
  8. This is an application of the "Ter sanctus," (thrice holy) often used in the Eastern Orthodox Church; it is also known as the "trisagion." I'm thinking of working out some more sacred motets in the near future. The piece itself is rather simple harmonically and texturally speaking, and this is intentional; I prefer it this way. These pieces could certainly be more complex and thorough, but I enjoy writing small, simple pieces with a sacred text. Anyway, I'd still love some feedback with all that said!
  9. Hey All! Had this one for a month or two and I'm stuck. It depicts my first train experience recently, on the metra into Chicago, and on the El-Train in Chicago. Needless to say it was super cool and I can't wait to do it again! Some things I'm pleased with: the rhythmic piano and rhythmic string ideas, the themes and ideas themselves Things I'd love feedback about improving: transitioning between themes and styles more smoothly. Enjoy, and thanks for listening :) p.s. please ignore the "Snare Drum" sound at 0:23 or so... Yay Sibelius sounds!
  10. This is my first time posting on this site! Just looking for some feedback/suggestions on a few pieces. Unfortunately, all I have is a MIDI file for sound, so I suppose that will have to do. Thanks in advance for any comments! P.S. The midi recording has some strange mistakes in it. Most likely because of not wanting to double up on accidentals when different layers in each part share a note.
  11. Hello all, Here is a 2 part treble composition I wrote for Children's Chorus. The text of "When I Hear Music" was inspired by the elementary school chorus that premiered the work. Their thoughts were filled with words of hope, peace and joy. A unison version of the piece was just performed as well. Thank you all for listening! Very proud of these students!
  12. 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...
  13. With this I tried to tell a story about a Duke that belongs to royalty who is very delusional and twisted. I tried to do something I don't normally do with instrumentation and I attempted to go for the film score level...
  14. Chords I used: Em - B - D - G - Am Some were inversions...I think if I used that term correctly lol. Currently practicing chords and progression so I don't think it's expertly executed but hopefully this proves I'm on the right track. Clashing is also one of my biggest issues I learned from Monarcheon so with this one I tried to fix that without eliminating huge and epic sections of the song. Like I tried to make some parts epic without the clashing so I'm not sure if I done that here or not.
  15. I'm not necessarily new to orchestra or symphonies but I'm no expert either. Thought I'll go for a dark/light theme. I finished this last night though the ending is abrupt. Not sure how well this is done. Need opinions or advice would be welcomed.
  16. This sketch was up to study how to write instrumental accompaniment for a simple chorus, how to write different variations of a melody, and of course, what sequence I should use. The lyrics are from the medieval ages by Albert Csanády, and it could be used as a sentence of a Christmas oratorio, or something like that. Again, I say it's just an attempt or sketch that I upload, and I'm up to get adives or criticism, in order to get the accompainment, the melody or the sequence better, according to classical construction style. Thank you!
  17. This piece was composed by me, and as it's one of my favourite poems, I wanted to give it 'sounding'. Albert Wass was a Hungarian poet of the 20th century. As Hungary lost both wars, Transylvania was taken by Romania, where Wass was born. For he'd taken part in World War II., he'd to exile himself from the country to the U.S., and he could never return. If he'd did so, he'd been executed (or at least jailed) by the Communist Goverment - that took control of the country for 1989 - like many people. In he's poems, patriotism, nostalgia, the wartime losses, bitterness, and of course, the transylvanian-hungarian land(scape) has a strong role, and frequent presence. The poem is in Hungarian, but I translated it to English for you. Unfortunately, I'm positively not a poet, so I only cared about the content and the meanings, not about the form and rhymes. You can read the translation below. As for the sheet, the piece was recorded with EWQL Brass Section and Finale 2012, and it's up to ignore the dynamics I wanted. But please notice, that in the sheet you can find the correct notation. I was trying to accord to the poem, and 'paint pictures to music' I saw while reading it. I used many specific 'Hungarian folksong - sounding' melodies and harmonies. I take any advice, remark or criticism that helps me make my piece better. Thank you, and best regards! Translation by Defearon: Dearest love of mine, look at the mount's ridge! A coat is made thereon, by the blonde rime. And where the creek flows, recess-like, it visits the woodlands covered with death. And within the woodlands blood and death exists. Everything is cold to the bones... everything, that was scattered as a present, by the Summer. And sometimes, soft winds are sneaking through, sending a message, "the faith was vain", And - what is left here by the dead Spring - it's buried by the leafs of the beeches. And do you hear it? Magical melodies are heared from the clouds high upon! See? There are brother-crows marching through, a wandering pair in love. And they are flying together, forever, where the Fall made melodies and flowers fall... (Maybe I'm still a poet :) ) Dearest love of mine, come with me to the Fall, and stop with me high, at the rime-white edge, under the saddest but finest beech-tree, and see, what beatiful wilting is! And the megic left here... is only left for us!
  18. Hello! This is my new symphonic orchestral piece with choir. I hope you'll like it! I'm really interested in your opinion.
  19. Re-uploading this from the archives if it's alright. I have a real recording, and a Sibelius Essentials recording of the piece. The real recording was recorded at my senior recital and there are some technical flaws, but it is still a performance I will never forget. This piece is for Choir and String Orchestra... I put that in the title because, it is more than simply a choir piece with string accompaniment, the choir and the strings are equally important and complement each other. The piece is a religious work, but stylistically it takes a lot of film music influences. The piece is set to text from Psalm 139, my favorite chapter of Scripture, and this is probably the most personal piece I've written so far. Here's a little bit more about the background of this piece (copy/pasted from the comment archives): I wrote the essentials of this piece during the summer of 2011. I'd been tweaking it since then up until April 2013 when I had my senior recital. During the summer of 2011 I was going through a lot of anxiety, and one of the reasons was, I had finished my third year of college as a composition major, and I had basically completed nothing as far as compositions. I was almost booted out of the composition department at the end of the school year because of it, but, after a day my composition professor changed his mind and decided we would give it another try. He had me going back to the basics and was sending me some exercises over the summer, cause I didn't really feel like I knew what I was doing... While all this was going on... I thought to myself that I had always wanted to try to write something set to the text of Psalm 139, my favorite chapter in all of the Bible. So I sat down, and, I thought... I wanted it to start off sounding a bit uncertain... but then when the words come in I want it to sound like coming to peace. And, well I just can't explain it, I started writing the intro and I shocked myself. It was better than anything I had attempted for string ensemble in the past by a lot... and then the "O Lord' ostinato just came to me after the intro closed, and I wrote the music up to "You perceive my thoughts from afar". So I had that much of it done, and I sent it to my composition professor along with the first exercise. He said "forget about the exercises, keep working on this." Enjoy, and please let me know what you think! Choral Fantasy For Choir And String Orchestra - A Meditation On Psalm 139 (c) 2013 Jair W. Crawford
  20. Guys, please, I've never found it would be so difficult... I'm looking for some choral pieces written in strict mixolydian mode, but I don't want a modern one. I want those old medieval pieces, or maybe from renaissance. It just has to be mixolydian and choral. (preferrably for not too many voices...) Thanks in advance^^
  21. Another opportunity to get a piece performed... I just sent them pdfs of a couple of mine. By the looks of the photos on their Facebook page, they only have about 10 men total, so pieces without extensive tenor and bass division are a good idea, and nothing too difficult. Peace out pateceramics The Silver Chords of Smithtown are seeking choral pieces to premiere at our Spring concert in May. We can offer exposure, publicity, and a chance for the piece to come to life. - Music should be easily accessible for a community chorus. (NYSSMA level 4-5; challenging High School Chorus level.) - We are especially interested in spotlighting Long Island and New York based composers. -The piece would become a part of our music library, and available for future performances. -Multi-movement pieces might be considered for future seasons, but Spring 2016, we're interested in individual song-length pieces. Send a link or pdf or Sib file to Rb4uris(a)gmail.com or FB to Carl J Ferrara. If a sample recording exists, either demo or midi, please include it. Looking forward to reading some new wonderful music. Twitter - (a)TheSilverChords Facebook.com/SilverChordsChorus
  22. So, I've been thinking a lot in writing a bigger work for choir, but I'm can't find a text that fulfills my expectations. Have you guys got any hint? It can be in "any" language or "any" theme, with some personal restrictions... in fact, I don't want to impose limits; if you have a good idea for a text, can you share it? Thanks
  23. Saw this and thought I'd give it a post here in case anyone is interested. (: Announcing the 2014 Eighth Annual International Anthem Competition of the First Baptist Church of Worcester, Massachusetts. Scoring for SATB choir with flute and organ accompaniment for a prize of $1550.00 US funds. Complete guidelines are found at http://fbc-worc.org. First performance will be in 10:00 AM worship on May 4, 2014 with Chancel Choir, flute, and organ under the direction of William Ness. Winner announced in March 2014.
  24. Komos, Bologna (Italy) Gay Men's Chorus, in collaboration with AltrEdizioni Casa Editrice, announces the first Komos International Choral Composition Competition, the chief aim of which is to promote the creation and distribution of new choral repertoire related to LGBTQ culture. Participation is open to composers of any nationality, age, sex, or sexual orientation. There is NO ENTRY FEE to participate in the competition The Competition is dedicated to an original, unpublished composition for men’s chorus (TTBB), a cappella or with piano or organ accompaniment, with the possibility of adding a (female) soprano soloist. The maximum duration of the work is five (5) minutes. The text must be based on gay-themed or homoerotic poetry or prose in its original language. Texts should be in the public domain. When this is not the case, permission to set a text and publish it subsequently must be obtained in writing from the author or copyright holder and must be enclosed with the entry form. The scores should be sent by mail to Komos, Via Venezian, 3, 40121 Bologna, Italy, by 21 June 2013. The winning score will be published by Altredizioni Casa Editrice and will be performed by Komos—Bologna Gay Men's Chorus in one or more concerts. One of these concerts will be part of the Bologna fall music festival Komos & Co., and will be dedicated exclusively to the composer of the winning score. On our website you can find the Competition Guidelines (in Italian, English, German and Spanish).http://www.progettokomos.it/concorso/Bando%201%20concorso%20composizione%20Komos.pdf and a selection of public domain texts, although the composer is not in any way restricted to these texts. http://www.progettokomos.it/komosanthology.html http://www.progettokomos.it/concorso/Greek1.pdf http://www.progettokomos.it/concorso/Greek2.pdf http://www.progettokomos.it/concorso/Latin.pdf http://www.progettokomos.it/concorso/MiddleAges.pdf http://www.progettokomos.it/concorso/Renaissance.pdf http://www.progettokomos.it/concorso/19th20thCentury.pdf http://www.progettokomos.it/concorso/Kavafis.pdf http://www.facebook.com/KomosCompetition
  25. So I'm writing this atonal piece for choir, are there any rules regarding accidentals?
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