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  1. This is a tuba concerto with piano I have been working on for quite a while. Originally this was meant to span multiple movements but I decided to run the movements together and give it cyclic properties. The sustain pedal on the piano is just holding out on this midi rendering so it gets muddy and the 8va markings cause both staves to move up or down an octave for whatever reason even if I didn't write it like that. Anyways, I hope you enjoy and criticism is welcome.
  2. Hello I'm writing a piano concerto and I have got to the cadenza. I am stuck with what to do with it. Do they have certain distinguishing features and do they have to be in the tonic key?
  3. Hi Everyone:) This is my latest Piano Concerto No.1, written for Piano Solo and String Orchestra. Currently, the Concerto only have 1 movement, Presto - Vivace - Presto - Allegro. (Please tell me if you want me to write 1/ 2 more movements:D) This is my very first concerto of this kind, and I am tempted to experiment the balance between Strings and Piano. I also attempt to use some chromatics and implement my favourite tuplet-against-duplet rhythmic pattern throughout the piece. Not sure if both techniques are appropriately done? This is my first time writing excerpts for Solo Piano, and I think I made it feasible as possible? Will it be too easy for a pianist to show-off? (I suppose someone will say so:P) Also, what do you think about the music in general? Particularly the development? Thank you! HoYin
  4. Hello everybody! I just finished my Piano Concerto No.1 ''Octaves'' in f minor. The Concerto consists of only one movement: Allegro con brio. The music is, of course, written for piano and string orchestra. The goal for me to write this piano concerto was to learn more about how to write for piano and how to write in a more classical, early romantic style. Note that I added some more contemporary elements as well. The concerto is in free Sonata Form: Exposition - Exposition repetition with piano (classical) || Development (many more modern elements) || Recapitulation without the second theme. I ommited the second theme in the recapitulation, because I felt like this theme was already 'mentioned' too frequently. Furtheremore, ending with the first theme sounds fine to me. What do you think about the music? Particularly the development? *The lay-out of the score still has to be done. Piano_Concerto_No.1_''Octaves''.mp3 Maarten
  5. Hi Everyone, I have started writing this piano work including a Piano solo and the string orchestra. I think I have introduced some themes into it, but are the themes insufficiently developed? Most of the time I tend to end a theme too quickly (maybe?) and start another, causing poor connection between them. (For example, mm. 29-30, 69-71, 89-90, 95-96 are such transitions) I don't have much knowledge about "bridging" motives, so I sincerely ask for some suggestions for it. Is the harmony good too? Any other comments are appreciated:D Thank you! Regards, HoYin
  6. I have composed a melody and put it into a waltz. Now I think that it would work really well in the bassoon as part of a concerto. Should I use the same melody twice?
  7. In an effort to embarrass and hate myself even more, I present to you my first attempt at a piano concerto just 3 years ago. It's heavily based off of the Ravel Piano Concerto since I was still working under established formats at the time. While it's nice to see I'm infinitely better than I was in a relatively short amount of time, it still fills me with rage and contempt to see pieces like this that I've done. I truly hate it. I hate seeing it, knowing there was a point I thought this was acceptable material. It's a little longer than most things here since it's all 4 movements in one file, but I'd appreciate any listen throughs of it. Note: The first 14 or so seconds of the file are empty, but the concerto is there.
  8. This piece was written as a commission for a pianist in a school I used to go to. It was written pretty quickly and is based on the Hans Christian Anderson version of the story, not the Disney version. It gets weird in some places but I hope you all enjoy! (And sorry it's kind of long, haha)
  9. Written for a friend; I'm excited to be able to finally rehearse and perform it soon!
  10. So, I am a huge fan of some of the music that is starting to come out these days. I am very excited about one of the directions classical music is taking. There are several composers who represent this direction that I refer to. For so long (nearly a century) music withdrew from its romance with emotion, it withdrew from expressive melody and lush harmony, it withdrew from a tonal center and a lyricism. Few composers held to these ideas in music. Namely I can think of Samuel Barber as someone who wrote beautiful expressive music in a period where Schoenberg's 12 tone technique came to take over and rule the land. Now, it seems that we are beginning to come out of that phase. What I enjoy so much is that we are returning to the tenants of romantic era music without it sounding like romantic era music whatsoever. We have discovered something through the 20th century and it has influenced our 21st century romanticism. We are starting to embark on a journey of sounds and textures, uses for instruments not previously thought of, fusions of musical styles and traditions that result in incredible sounds all while staying true to what makes music music. One of the composers at the forefront of this and one of my favorites is Christopher Theofanidis. Most people know Theofanidis for his Rainbow Body and rightfully so. It is expansive, beautiful, meditative, exciting and brilliant. However, Christopher has written a new Bassoon Concerto and it is incredible. Don't think for a second that you know how he will use this instrument. At times he uses it almost in the way you would use a jazz saxophone solo other times it is used as if it is a pipe on a set of bagpipes and the orchestra is the drone. He gets so many uses and sounds out of the bassoon that I have never heard before. The soloist is incredible. His name is Martin Kuuskmann - first time I had ever heard of him, but he kills the interpretation of this piece. The piece starts out with a solo for the bassoon that reminds me of a local saxophone player that we have were I live. His name is Bobby Watson. One time I saw an outdoor concert where he played Amazing Grace. That saxophone solo wailed through the valleys of the hills and through and between the buildings of the downtown area. Then it is off to the races. The speed at which he plays and the attack on each note is incredible. The second movement is my favorite. The build is luxurious and beautiful. The concept is unique and visionary. In my opinion this could drag out forever and there would be no issue with it. The last movement is blistering and super exciting. The ending is also very unique. The only thing that was initially confusing to me was the fact that the bassoon doesn't finish the piece on the high note. Interestingly, it goes back down and fades out. It took my ear a few listens to get used to that part. Nevertheless, this is the kind of music and the kind of incredible ideas that I love seeing - thinking outside of the box. I love the harmonic language. I love the open exciting chords. I love the concepts with the bassoon. I love the melody and the direction of the piece. I love that there is incredible music being written now!
  11. Hi all, A friend of mine asked me to write a piano concerto for her - I was already planning one, but now I really began to set the first notes on paper. The early romantic composers' concerti (Schumann, Mendelssohn, Beethoven etc.) have had a huge influence on the piece until now. Sadly enough, I feel I am not able to continue and finish this concerto. It sounds too repetitive and it really bores me listening to it, but also composing. I have reached the capitulation of the first movement. Any ideas how I can recover my motivation of finishing it? I have attached the score and music. Note that this is a rough sketch. Feedback would be nice too! Maarten
  12. This is the third and final movement of the violin concerto I had written a while back, now copyrighted and published and whatnot. The speed it's written at is a parody of Barber's last movement of his violin concerto, but when this was first performed, it was definitely taken a bit slower. This piece deserves a lot of criticism, especially with the timpani part, since it relies on pitch bending on timpani which is extremely difficult to execute. Hope you all enjoy, though it may be a bit of a farce.
  13. Hi guys, This is my first time posting on this site, it looks to be a great place for composers. I'd like to share with you the second movement of my first piano concerto, I'm eager to hear what you think. Unfortunately it's recorded through Sibelius so it doesn't sound all that authentic. Thanks, P. M. Joyce
  14. A while back I posted the first movement of this concerto. This is the obligatory slow movement of it, and I think it flows better than the first movement. A lot of inspiration was taken from the Barber violin concerto, and was written kind of a while ago, because I was obsessed with that piece for while; haha.
  15. I finally got this piece copyrighted, so I can put it up now... this is a pretty early piece, and one of the first I felt relatively proud of for doing. This is just the first movement... hope you all enjoy.
  16. My first attempt at a concerto for solo instrument and orchestra, composed early in 2014 when I was living in Wichita, Kansas. Forasmuch as this piece is in Classical style, the principal horn part is designed to be playable on both natural and modern horn. The movements are as follows: Allegro un poco maestoso Andantino Allegro con brio Scores to the movements are attached. Sound files here:
  17. Interesting new format for the forums.... I've posted this awhile back, but it remains one of my better works, I think. It's a harpsichord concerto in the Baroque style, though incorporating my own idiosyncrasies within it. I initially transcribed a movement of an older piece for violin duet (the last movement) as a harpsichord concerto movement and liked the result so I composed two new movements to go with it. I hope you enjoy it.
  18. Charles Stanford is a mixed bag to my ears - some of his choral works are standbys and he has a few works kept in the repertoire. But I find a good deal of his stuff not too interesting and at few pieces suffer the excesses of the Victorian age. Yet of the English composers of that time he was one of the best and I agree that he always had strong craft. But I never knew of this lovely concerto. Now it is hardly breaking any ground at all but the orchestration with the clarinet is fantastic - the clarinet plays a ton and you really have to be careful the clarinet doesn't blend too easily at times. Some nice brass writing with strings - again no new ground broken here (especially as Mahler was at his height - you can hear a little Mahler influence), but definitely worth studying and enjoying as one of the best clarinet concerto movements I have heard in a long time. http://www.youtube.c...feature=related http://www.youtube.c...feature=related
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