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  1. So after listening to Bach's Cello Suites and his Flute Partita, I figured I would do a similar thing but for bassoon. The fact that I am writing for bassoon is partly why I decided to start with an overture instead of a prelude(French overture if you want to get into the specific type based on speed pattern). That isn't to say that the slow section won't include some fast 16ths but I have been adding long notes as I see fit. I only have 13 measures so far, so I'm not thinking of uploading the piece yet. But I can only use the singing method for the alto range and low soprano pretty much(my natural soprano has gotten limited and squeaky over the years, and not because I overused my soprano so unlike before where I could easily sing up to a high G in my soprano, I can barely get a high C out) which means that as soon as the notes are in the range of a bass voice or a low tenor, I can't use the singing method to check for slur placement at all and in the soprano range, it isn't going to be all that accurate(Not that I would have the bassoon going into a soprano range all that often anyway). And I myself do not play bassoon, partly because the instrument, even at beginner quality is like $3000 worth. Whereas my beginner quality flute, I got for less than $100. That is quite the price difference between the cheapest and most expensive woodwind at beginner quality, excluding auxiliaries. If I did play bassoon at an advanced level, I could just write down the notes that I want without worrying about slurs, play the notes as written, and see where I run out of breath and how I naturally phrase it. The breath and phrasing together would determine where to put the slurs. But because I don't play bassoon, and I don't have a friend who I know is a bassoonist, this method won't work either. So if my vocal range is limited pretty much to alto and low soprano making the singing method not viable for bassoon and I don't play bassoon, nor know a friend who plays bassoon, how am I supposed to determine where to put the slurs in my Bassoon Suite?
  2. Hi everyone, please check out my new work for Large Ensemble and Voices. Give me your feedback after see the video, link below. SULING TEU SILUNG FINAL MOVEMENT (2019) <- Click Thank you guys! 🙏
  3. Hi everyone. I'm new here. I would like to hear your thoughts about a music i composed as a trailer music concept. I'm open to your criticism or views as i could learn from your reaction towards the music. This is a link to the music. https://soundcloud.com/x-feel/self-realised
  4. Hey guys, this is my first time on the forum. Just wanted to post some of my music and see where it takes me. This is my first solo piano EP that I've written, it is called distance makes the heart grow fonder and it depicts the feelings experienced by a couple who love each other, yet are separated for a while, starting with a piece depicting the farewell on the train station, then moving to a portrayal of the man experiencing loneliness but thinking fondly of his love "while watching the stars". The third piece is the central piece of the EP and is a melancholy love theme. The final piece is supposed to be a breathtaking depiction of when the eyes of the couple finally meet for the first time again and the bliss and relief of seeing each other again. Link to the EP on Spotify: Constructive criticism appreciated! Please let me know what you think. And if you like it, adding it to your library on Spotify would help me massively. Check out two of the pieces on YouTube as well: Thanks!
  5. Hello everyone! :) I am new here and I am glad that I can be a part of this community. I hope we will have good times together. Anyway, I would like to share with you my latest composition which I did and I would be glad for any feedback and constructive criticism (these things push people forward) I made this composition using virtual instruments. And also there is another question. I would really like to study and learn more about composition so I've hoped that you could show me some good staff where search. Also, I am thinking about school do you think is it possible for me with almost no experience in this sphere? Thank you very much for every response CH_OverWorld_Theme_Robert_Bruckmayer.Mp3
  6. A game we played when we had an artist in residence one time was compositional musical chairs. This will be a solo Piano score. We each write 5-bars of music. Those five bars do not have to be a complete theme but if you wish you may do so! It may be in any key or keyless. The tempo can either be quarter note=100(Fast), quarter note=80(Moderate), or quarter note=50(Slow). Thanks! Have fun!
  7. Composite sketches throughout my life. Softwares: Finale, Kontakt, Cinebrass PRO, The Giant Piano, EWQL Symphony Orchestra. https://www.youtube.com/watch?v=s2A4N1s8a98
  8. Please listen to a composition I made today. Is for the main title of a 8bit game. It should be looped more times. It is a finale audio so don't expect a lot of quality of instruments. Any suggestion and comment are great 😄
  9. Hello! I would like to show you my new piece for piano and electronics. I'm waiting for your feedback and hopefully you enjoy it! Self-portrait (piano / electronics) - Antonio García (YouTube link)
  10. Use the Random Numbers Generator provided and come up with 12 numbers (change the maximum to 10, being the 10th note of the scale), re-arrange those numbers however you want, you can delete UP TO 5 numbers. Translate the numbers into letters of the musical scale, this can either translate into the steps like twelve-tone or just the notes of a scale. Create a melody out at least some of the notes and you MUST use those notes TWICE in your peice (the melody does not count). No time limit. You get to choose the specific instrument or instruments but the MONTH you were born will determine your section (you have to stay in that section, see exceptions in bold). Percussion (Piano NOT included) : December and November Piano: February and April Strings (Harp included) : March and May Woodwind (clarinet, bassoon, Piccolo, flutes, oboe, saxophone, English horn) : June and July Brass (trumpet, trombone, French horn, et cetera) : August and September Electronic (synths , et cetera) : October and January A special rule for people born on February 29th: You can choose TWO instruments from another section or sections IF YOU WERE BORN ON ANY HOLIDAYS (widely celebrated |=| CHRISTMAS, HANUKKAH, Arbor Day, Boxing Day, CINCO DE MAYO, ET CETRA) : You can choose ONE instrument from another section (Post when done!)
  11. The title basically says it all. Suggest anything (tempo, instruments, style, etc.)
  12. Okay so this is my first post on this forum so I don't really know the etiquette or whatever, but I'll just go ahead and explain my problem. I've been wanting to compose music since before I can remember, and I play piano and guitar and I know music theory and all that jazz so it's not like I don't have the necessary tools. But every time I go to my piano to compose something, anything, I feel blocked, like I can't put what I hear in my head down on paper. Not in terms of rhythm or anything. I can hear the completed song in my head, but I just can't, or maybe I don't know how to properly emulate it. There's also an issue I have where I have trouble making music just for the sake of making music, and usually when I come up with an idea it has to be attached to a scene of some kind, or there has to be some kind of visual I have in my mind before composing, so that makes it even harder for me to actually start making stuff. Does anyone else have this problem? How can I get past these blocks in my head so I can actually write music for once? Thanks in advance!
  13. Heya! I wrote this song last week and would love some feedback. Lemme know what you think! Thanks, Clay Link: Also, here are the sheets if interested: https://musescore.com/user/26861998/scores/5005981
  14. Hey all! I had a thought. After graduating with a music composition degree I found that a lot of online courises are directed towards film and game music, bit don't really educate other aspects of music composition. I feel like I am not alone here, so I have decided to start building course that would go over these missing aspects. Please leave your comments here on what you personally would like to see in a music composition course or take 2 minutes to fill out this survey Survey If this really peaks your interest, make sure you answer the last question to get early access to the course when it is completed!
  15. Hi all, my fiancé got me a standard iMac and MacBook Air just cause she's awesome, so before that guy try's to tell me that what I have isn't enough, I'm not able to upgrade because I am still learning and haven't gotten my foot in the door yet I have free projects that are offering me work that's it. they only run 8 gigs of RAM, and I need to get something usable for small projects orchestral wise whether it's garrison or whatever I can't spend more than like 400 at the ABSOLUTE most and even still I don't want to spend more than 200-300...are there ANY decent libraries that 8 gigs can handle...I'm not trying to sound like a butthole but everywhere I look people act like you have to spend 1000 dollars to have anything worth using, and all of them apparently require 200 gigs it's frustrating, I'm sorry but I am new any advice?
  16. EDIT: This survey is now closed, thanks to all who took part. I may publish the results in February, and if so, I will add a link here later. Hi folks - first post, so apologies to the mods if this type of post is not allowed! I am a composition student at the University of Surrey and I am throwing around a survey across the internet to gather some data on how musicians write music with music notation software - this forum seemed very lively, so I'm very interested in your thoughts. If you are someone that composes/arranges music with music notation software (Sibelius/Finale/MuseScore/etc.) I would be extremely grateful if you could spare 10 minutes to fill out this survey: https://freeonlinesurveys.com/s/eZTxmoaK At the end, there will be two participants chosen in a random raffle that will receive £15 via PayPal. The survey will close in 7 days (6th January 2018). If you have any questions/comments/discussion - fire away! Thank you and have a Happy New Year!
  17. Hello? I am Hemio who studies composition as a hobby in Korea. I am not good at English so I can hardly communicate deeply, but I will try. This is a piano music that represents the Egyptian goddess.
  18. Hello I am a french pianist composer and new on this forum. Here is a link to my first piano composition album, that I recorded in a studio in France I Hope you will enjoy it. I called my album "Premières notes", that means "First notes" :) http://premieresnotes.com Sacha MENNY
  19. I realized that I tend to layer a lot of things but often have them play through the whole section in whole notes (i. E. Having a Bass and Cello holding the Bass notes) Does anyone know any scores that show examples of creative use of Rythm? I. E. the violins in (I think) Hedwigs Theme seemed really interesting but I bet that I haven't even touched the surface of this topic.
  20. DELIAN ACADEMY FOR NEW MUSIC International Academy for Composers & Sound Artists 8 - 17 June 2018 Mykonos, Greece DESCRIPTION The Delian Academy for New Music is an international summer academy for composers and sound artists located on the island of Mykonos, Greece. Curated under the auspices of Georges Aperghis and Grypario Cultural Center, the Academy derives its name from the nearby island of Delos, the birthplace of god Apollo, and a UNESCO world heritage site. Unlike top-down organization programs, our Academy is a participant-driven meeting where attendees co-decide and create the agenda for a series of symposia, workshops, and concerts with the guidance of faculty and staff. The 2018 edition will take place from 8 June to 17 June in Grypario Cultural Center of Mykonos. Participating composers will have the chance to take part in masterclasses, presentations, workshops and have their music performed by our ensembles in residence. The main language of the Academy will be English. Additional languages may be used in private masterclasses. WHO WE ARE GEORGES APERGHIS, Honorary President FACULTY FOR 2018: MICHAEL FINNISSY, Composition ELAINIE LILLIOS, Electroacoustic Composition DIMITRI PAPAGEORGIOU, Composition ALEXANDROS SPYROU, Artistic Director ENSEMBLES IN RESIDENCE FOR 2018: TRIO ACCANTO www.trio-accanto.com ZONE EXPÉRIMENTALE www.zoneexperimentale.ch PARALLEL PROGRAMS -Electroacoustic Workshop with Elainie Lillios Sound in Nature – Sound in Space The 2018 Delian Academy electroacoustic workshop will explore sound in nature and space, and how these elements can be creatively expressed in both fixed media and mixed (instrument/electronics) composition. Participants will investigate the varied and beautiful soundscape environments on Mykonos and surrounding islands, capturing its sounds and sceneries through field recording activities. We will also engage with sound environments through Deep Listening exercises, including soundwalks and sound improvisations. Other discussion topics will include electroacoustic techniques, critical listening, sound in space, and electroacoustic literature. -Experimental Collaboration with Guest Artist Jana Luksts -Half-day trip and field recording in Delos APPLY APPLICATION DEADLINE: 15 DECEMBER 2017 Please visit www.delianacademy.com for more information and application form.
  21. Instructor: @Monarcheon Writing Requirement: Soundwalk Special Requirement: Compose a general soundwalk A soundwalk is a composition intended to guide a reader along the path you prescribe. These compositions last generally last around 30 minutes to an hour and are intended to be the most sonically engaging possible. Soundwalks are composed as lists of instructions to guide the listener on their journey. Normally, soundwalks are composed with specific locations in mind, but it is more fulfilling and viable to compose general soundwalks, where the instructions should be able to be applied in most places. For example, a normal soundwalk I would compose would have the city I live in, Seattle, in mind while I write instructions, and would mention specific places, like the University campus, or the light rail stations. A general soundwalk would be more likely to include compass directions, indoor vs. outdoor specifications, and times. Here is an abridged example of a normal soundwalk, with the University of Washington in mind: Striking Sounds about the Stevens Loop by Alex Sanchez Remarks: This soundwalk calls for the traversal of stairs. If this is not possible for you, simply enter the stairwell, participate in or simulate some of the activities suggested, then take the elevator to the destination floor, if necessary. “Striking” is both a verb and an adjective; we will treat it both ways. At various points during the soundwalk, you will be asked to strike objects. Also, you will be asked to reflect upon or simulate the sounds you create--and stumble upon--during your walk within the various ambient and sonic environments you encounter. Materials: Carry various objects made of various materials with which to strike other objects found during the walk. Also, if possible, leave behind any delicate electronics so that your backpack becomes a “striking-sack” with which to create “booms” in reverberant stairwells. Your hands are also valuable striking tools! Also, it is recommended to wear socks and (fully to semi-)waterproof, but absorbent shoes. Instructions: For best results, this soundwalk should occur during a dry, somewhat windy school day, at or slightly before the main lunch rush. Begin the soundwalk outside Music room 216, our meeting spot for class. Take a minute or two to explore the sounds of the lockers in the hall. Try opening and closing them with varying degrees of force, striking them in various locations with your striking tools, singing into them to find their resonances, etc. What are the “highest” and “lowest” sounds you can make? Which sound is the most striking to you? Which aspects of that sound are distinctive and make that sound striking? Remember your favorite sound; you will attempt to recreate it later. Walk up the stairs, listening to the sound of your footsteps. Try to explore the variety of sounds you can make by stepping lightly, heavily, dragging your feet, etc. Exit through the doors leading to the Drumheller Fountain. Walk there, and take a lap around the fountain. Listen to how the sound of the fountain changes as you walk around it, and also to how the ambient sound around you changes as you move to different areas in the space. Upon completing the lap, walk north towards Red Square and try striking the ground as go to see how the ground reacts to your striking tools. Upon arrival, find pairs of conversations between people in Red Square. Stand exactly between the loudest of them, and face one of the conversations, watching their mouths as speak. As you do this, focus on the sound of the conversation behind you, ignoring the sound of people in front. Do this for 2 more pairs of conversations: one at farther distance, and one at closer distance. How does the experience of listening change at these distances? Walk into Odegaard, noting the change of ambient sound, and up the stairs to the 3rd level quiet work area. Sit there for 3 minutes, reflecting on the sounds you heard so far in the sound walk. Which was your favorite and why? Which details of the sounds can you remember? Which were the most striking and why? Leave Odegaard the way you came in and walk to the sculpture by the Law School we saw in class. Strike it with your striking tools. Try different locations. Does the fundamental pitch of the sound change depending on where you strike it and which striking tool you use? What about the timbre and the resonant overtones? Can you recreate the sounds you made with the lockers here? What about other sounds that were striking to you? Which sound of the sculpture is most striking and why? Walk back to Music 216, and try to recreate your favorite sound on the lockers by any means necessary. If your favorite sound was from the lockers, use your next favorite sound. Here is an example of a general soundwalk, with no specific location in mind: Soundwalk – Polymorphism by Greg Bueno Triangulate. If you are indoors, exit. If you are outdoors, remain so. Choose west, but go south. Walk till you find a spot where the trees do not obscure the sky. If you must deviate from south to reach this spot, do so. Remember that you have already chosen west. Find a suitable place to sit. Optional: Remain standing. Fix your gaze at a single point. Do not strain your eyes. Begin listening. Count slowly to 23 or until you perceive the passage of one and a half minutes. Do not use a timepiece. Note: You may fall short of that duration. Conversely, you may exceed it if you are distracted by thought. These outcomes are acceptable. You may stop fixing your gaze. Continue to do so if it helps you to listen. Identify the sound that captures your attention the most. You must not refer to this sound by its name. Until instructed to do so, refer to it as POLYMORPHISM. Ignore POLYMORPHISM but keep it in your heart. Resume listening. As you continue to listen, take your pulse. Suggestion: You may find your pulse easier on your neck than on your wrist. Do not listen to your pulse. Feel it instead. Count slowly to 17 or until you perceive the passage of one minute and 15 seconds. Do not use a timepiece. Reject POLYMORPHISM. Optional: Regret the act of rejection. You may stop taking your pulse. Continue to do so if it enhances your experience of listening. Resume listening. Concentrate on a steady sound. Note your reaction to that steady sound. Remember a time you should have felt sad but did not. Concentrate on the steady sound again. Note whether the memory of the previous step affected your perception of the sound. Resume listening for a length of time you perceive to be two minutes. Do not use a timepiece. Acknowledge POLYMORPHISM has forgiven your rejection. Accept it back in your heart. Hum to the pitch of the same steady sound on which you reflected about not feeling sad. Optional: Forgive yourself for not feeling sad. Recall the original name of POLYMORPHISM. Say the original name of POLYMORPHISM to the pitch of the steady sound. Think the word POLYMORPHISM as you say its original name. Stop at a comfortable interval. Resume listening. Go north, but choose east. If you were indoors at the start of the piece, you may return there. Optional: Seek another destination. You have concluded the piece. I would like to see some general soundwalks if you have time to write one, but understand if a normal one is required.
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