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  1. Quiquern Part One: The People of the Elder Ice One of my favorite short stories of all time is “Quiquern” by Rudyard Kipling, from The Second Jungle Book. If you’ve never read the two Jungle Books, I highly recommend them. The Disney film only scratches a tiny surface compared to the epic stories by Kipling (Mowgli’s story is really only the first of like 20 stories). The writing is so crisp, and these stories do what all great sci-fi and fantasy stories do: they create an entire fully-formed world for the reader to explore. The world is rich and complex, and the lessons it
  2. Hi, I was hoping I could get some advice on a clarinet solo I am writing for my audition portfolio. I only play guitar, but I wanted to write a solo for clarinet to add some variety to my portfolio. I am worried that the phrasing that I'm coming up with isn't particularly suited to the clarinet or any wind instrument for that matter. I am using Instrumentation and Orchestration by Alfred Blatter to get a better idea of what I can and cannot do on clarinet. If anyone who plays clarinet could give me some advice on if the piece is playable that would be great. Any advice on the compo
  3. Here is a piece I hope to compliment with two more pieces for a more complete sonata -- this is only the first movement. I've spent a while working on making my writing more concise for chamber settings, and once I actually write this whole piece, I plan on getting it performed and recorded. A large focus on this piece is varying textures and moods efficiently, as well as using the different motifs and melodic fragments to construct the music, concerning myself less with harmonic relationships etc. I've included a score in concert pitch, as well. Suggestions are helpful, and thanks!
  4. Hello, This is a piece I have been composing for the past couple of days. Any criticism is welcome, although I may not go back to work on the piece further, so I just thought I would leave it here. Cheers -R
  5. Is it possible to cross the break easily on a Bb clarinet once or twice in a quick line? I am writing a Tarantella for Wind Quintet and the Bb Clarinet gets a quick line.
  6. Another old(-ish) piece. I had to write it for an interview at the Royal Academy of Music when I was applying for conservatoires at the beginning of the year. I was given the brief, a week or so before my R.A.M. interview, to compose a miniature of 60-90 seconds duration for two instruments of my choice using the collection of notes and intervals, D, F#, C, G, E.
  7. Again, I was not sure whether this qualifies for the chamber music or the large ensemble category, but here it is. Powder Peony Waltz is a Viennese waltz written for whatever group of instruments I like (modified orchestral ensemble with ornaments in the form of a piano and celesta). I know that the transition between different keys is extremely awkward and chord progressions are not very fancy, but I was simply asked to write a quick small piece for dance class at my high school for their annual ballroom dance show. I intended to make this sweet, flowery, and light. Thank you for listening an
  8. Hi I've been working on something simple but funny (for me). Inspired in the life of my cats, I'm doing a king of little suite for flute, clarinet and piano. The clarinet is not transposed in the score. Well, music for me is this, too... T I've written too pieces (working on more): Awakening: the moment when the all come back from the dreamworld. Purring: including the sound of Dexter.
  9. Hello everybody, A few months ago I discovered minimal music and I immediately fell in love with the simplicity and rest it gives me. At the moment minimal music is one of my favourite genres and I tried to compose a minimalistic piece for Clarinet in A or Bb. Melody for Clarinet.pdf The score is already transposed, so the part will sound different when played by a Clarinet in A than than when played by a Clarinet in Bb. The performer can choose how many times he or she wants to play the repetitions. Glass' masterwork Glassworks is a huge inspiration for this pie
  10. I wrote this for a composition assignment in which we were tasked with writing a twelve-tone piece for 2 instruments. For this piece I utilized five permutations of the original row. I've attached the score, which right now is simply the notes- it doesn't contain any dynamics or articulations. I'm still very new to twelve-tone technique, so I'm not sure I have the twelve-tone sound in my ears yet, but if anyone here has experience with twelve-tone technique I would greatly appreciate your thoughts on how I did!
  11. Here's an older work of mine that I'm thinking of writing a sequel to. I would be interested in folks' opinions about what works and what doesn't. The basic "story", such as it is, is that the three instruments are three separate characters who are constantly taunting each other. It finally gets to be too much for the piano, who slowly loses it over the course of the piece. Thanks!
  12. Hi all, I have (finally) completed my Quartet for Piano and Winds. I have completed the first and second movement in August, but I was not able to compose a third movement, until last week. When I listened to Mozart's Quintet for Piano and Winds, K.452. I decided to compose a Quartet, which could be played by my friends and me. This is the reason why it is written for Bb Clarinet, Alto Saxophone, F Horn and Piano. I have tried to compose the third movement in the same style as the other two movements. Feedback and sharing your opinions would make me very happy! Enjoy!
  13. This is my 18th soliloquy for clarinet (in Bb). It is one of my longer soliloquies, and one of the best ones in my opinion. As usual, the score is the transposing one. Here is the link to my previous clarinet soliloquy: http://www.youngcomposers.com/t33963/soliloquy-for-clarinet-no-17/
  14. Alto Saxophone Concertino No.1 in f minor ‘’Batterij’’, Opus 14 Dear reader / listener, I composed this concertino on the 14th of July for a national composition competition in Holland. The piece is about my black-out, which I had last school year. The composition is originally written for members of the Jong Nederlands Blazers Ensemble (Young Dutch Wind Ensemble) and me as soloist: Alto saxophone; oboe; clarinet in B-flat; horn in F; bassoon. Feedback would be very nice, because I have not received much useful feedback from the judges at the competition. Kind regard
  15. 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?
  16. A small prelude written for my English class - background music for a model based on the setting from A. Huxley's "Brave New World". In this composition, I tried to reproduce the cheap and ignorant, grotesque cheerfulness of Huxley's bizarre world of artificiality. Also, I thought that the concept of all-seeing eye would fit the dystopian nightmare. The pillar of this prelude is my loose improvisation in A major - one of the most happy and cheery keys, in my opinion. Thank you for listening!
  17. I thought you guys might be interested in my new series! I'm creating 2-3 minute videos about writing for every member of the woodwind family. I also am more than happy to answer any questions that are posted on the video. If you're interested, here's the playlist:
  18. Here I propose a tiny poutpourri on two of the most famous nursery rhymes: respectively Ring a Ring o'Roses (the Italian Giro Giro Tondo) and the evergreen Twinkle Twinkle Little Star (Ah! Vous-je dirai, Maman). The structure is very simple: a slow, two-bar curtain leading to Ring a Ring and a variation, the reappearance of the curtain, a little longer with piangevole fluttertongues, the exposition of Twinkle Twinkle varied two times and the happy coda, in crescendo and stringendo, again on Ring Ring. Happy listening!
  19. Guest

    Opus 12

    My first orchestral piece finally done! Opus 12 is written for modified orchestral ensemble consisting of : Piano, Woodwinds : flute, oboe, A clarinet Brass : French horn Percussion instruments : glockenspiel, vibraphone, tubular bells, triangle Strings : violins 1, violins 2, violas, violoncellos and contrabasses. and harp. Composition consists of first part (moderato - E major/C sharp minor), second part (F major/D minor) and third part - modified first part. Since I'm a complete amateur high school student, any helpful hints and comments are very welc
  20. Mehdi HOSSEINI (*1979)Inertia I (2014), for clarinet/bass clarinet, piano, violin and celloENSEMBLE PROTON BERN Conductor: Matthias KUHNPerformers:Richard Haynes, clarinets/bass clarinetSamuel Fried, pianoMaximilian Haft, violinJan-Filip Ťupa, cello
  21. This is my 17th soliloquy for clarinet (in Bb). As with the 16th, I have provided the transposing score. Here is the link to my 16th clarinet soliloquy: http://www.youngcomposers.com/archive/music/listen/8305/soliloquy-for-clarinet-no-16/
  22. When I'm composing for full orchestra, I often find that I have trouble writing parts for the Woodwind section. These are some of my favorite instruments as far as their sound goes, but I just can't seem to write very "elaborate" or "high quality" sounding parts for them. Any tips or tricks would be appreciated. Thanks!
  23. So this isn't exactly a composition question but this seemed like the best place to put this on here. I just got back from an audition and I plan to challenge as soon as I can. The incumbent, my directors and I all have to choose some cuts for us to audition on and I was considering picking something I was already familiar with from Cyrille Rose's 40 Etudes for Clarinet so I can focus on the other 2 cuts. I'm trying to decide between no. 32 and no. 35...which do you think would be more fitting and/or challenging for someone who hasn't played them before? If it factors in at all, I'm more fam
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