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  1. 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
  2. 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
  3. 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?
  4. 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 f
  5. 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)
  6. Written for a friend; I'm excited to be able to finally rehearse and perform it soon!
  7. 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 ove
  8. 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 attach
  9. 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.
  10. 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
  11. 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.
  12. 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.
  13. 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:
  14. 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.
  15. 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 ti
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