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  1. Two improvisations I recorded yesterday. They are contrasting (in my opinion) - let me know what you think! I recommend listening to the "Soft" one first. Soft.MP3 Hard.MP3
  2. Hey everyone! Please let me share a newly recorded version of my composition "The Sea". Don't know If this is the right place for it, but it's a guitar composition so I thought It would fit well in the chamber music althought it's not a typical chamber music piece. There's a nice story behind this, I was at the summer vacation in Croatia and I once brought my guitar to the beach with me, it was in the late evening and the beach was all empty. And while I was listening to the waves and playing some harmonies that had the "sea feel" to me, a family of strangers sat so near to me as If they
  3. Hi everyone! This is another composition I wrote for solo piano. It's called Ballerina and I wrote the main theme in early 2013,but I didn't finish the piece until the late 2014. When it comes to the style I think it's got elements of romanticism and contemporary piano music. Judging of this is up to you guys,please let me know what you think :) There's a nice story behind this video. Peter Nagy- a legend of Slovak popmusic,great singer/songwriter and a great photographer came up with the idea of paying tribute to a talented young Japanese ballet dancer Aya Watanabe, he made a f
  4. As I slowly upload everything again, I bring my largest work up-to-date, my second symphony. It is in four movements and lasts about 25 minutes. It was composed in 2008 for the 50th anniversary of Slovene radio symphony orchestra and was selected by artistic advisors of the orchestra to be performed throughout 2008/09 season. So premiere took place on 23rd April 2009. I adopted some formal approach which is characteristic to late-romantic symphonies - frequent use of the basic motif throughout other movements, rich and colourful orchestration, free contemporary music language which u
  5. Hi everyone! This is a piano piece from my debut EP and It's called "Impression". Althought I'm not very good at determining certain styles,I think it has elements of contemporary piano music and impressionism. I recorded it by myself. Please let me know how you like it!
  6. Hi everyone , I have any question :) . Firstly my English is very bad. So I'm sorry . I'm composition student at university and I have scholarship but my class is preparation . My Professor and my friend says my compositions very good but I'm writing tonal music but I cant write contemporary music . example : I cant write Whole tone music or I cant write like Stravinsky . What can I do ? I want to write contemporary music , whole tone and like stravinsky . My Professor said that so early but my other Professor said that you can start contemporary . What can I do ? :) Thak you . I'm
  7. Hey all again! I haven't been here for a long time... :) I have a new competition idea for you, but not sure, if anybody would be interested.. At least maybe I start your brain for today :D In February, I bought my electric cello (yamaha svc-110). I use it mainly in my rock band, and some jazzy stuff, but now I decided to write a piece for electric cello and tape. I would like to write it and perform it during the winter. Of course that wouldn't be the only piece, what I would play on that concert, and that's why I'm writing to you, guys! So if you really feel like you want to write a
  8. Hello, I am studying composition at a university and one of my optative subjects is "Musical Sociology". For that subject I am writing a short paper about the accessibility of contemporary music. More specifically, I am studying the hypothesis that two elements, form and musical discourse, are more important than the musical language used in a given work in determining it's accessibility. For anyone interested in helping I have, at the moment, two questions. The first is: among contemporary works written using non tonal idioms, which would you consider to be more accessible, and why? I
  9. Hello all! I would like to have a concert in 2012 October-November, which would be a solo cello concert. I will play pieces like Penderecki's Capriccio, and Ligeti Solo Sonata. On this concert, I would like to perform one of your pieces, so that's the reason for this competition. You can write for cello solo, or cello with electronic accompaniment (or other prerecorded staff). I prefer more xx. century or contemporary staff on this concert, so neo-classic and neo-romantic pieces won't be really accepted. The piece doesn't have to be new, but I like to be the world premiere cellist :) You
  10. Greetings to all fellow composers! For some bizarre and peculiar reason, we are living in an age where people are becoming obsessed with thinking that we have to label every single compositional style that composers write in. I was reading a book by the australian composer Andrew Ford (it was called "Illegal Harmonies") about modern music since 1900 and I was amazed to see that the glossary of musical styles (Impressionism, futurism etc.) went on for about 50 pages! I don't really see the need to label music in this way as the words hardly help anyone just listen to the music and the sound
  11. This is a thought that has nagged at me for years now, ever since I started to compose. Let me make it clear, I am not referring to what forms are available on a larger scale (e.g. Concerto, Sting Quartet and so on), nor do I mean how do we handle and develop our themes and ideas – all be this closer to what I mean. I am referring specifically to our use of form and its originality. For example if I say ‘Sonata form’ or ‘Scherzo’, immediately one conjures up a preconception of an inner form – a ‘middle-ground’ form perhaps, if we were to borrow a term from Schenker. Taking a sonata for examp
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