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Found 53 results

  1. I think this is a sort of incidental music... The structure is simple: Part A Part B (everything reversed) It's a big atonal double canon.
  2. Hi everyone! This is a kind of a minimalist piano piece of mine. It§ s called "Rain" because of the free form and due to the fact that except for the recurring theme, it is heavily improvised and it is supposed to remind of raindrops. I hope you will like it!
  3. I'd been thinking about doing a reduced version of a very old piece of mine, "The Oort Cloud," for a long time. I believe it was the first piece I posted here three/four years ago (which I've since deleted). It was interesting to go back through the "orchestral score" and see how much I've learned since then, and it was a challenge to keep it interesting with the limited instrumentation (not to mention the total absence of a second theme). I tried my best to use some minimalist techniques [subtle changing of rhythms and intense repetition, which is pretty much my entire knowledge of the genre ] and some more contemporary tonal and harmonic language than what I usually go for. Since this isn't really my wheelhouse, I'm happy to hear any thoughts, suggestions, criticism, etc. Thanks for listening! EDIT: Also, for those that may be confused by the title: the Oort Cloud is the outermost ring of gas, dust, and other interstellar debris that is theorized to circle around our sun at an extreme distance, even beyond the dwarf planets, asteroids and other (larger) objects of the Kuiper Belt.
  4. Two Bb clarinets and one Bb bass clarinet, all transposed. In some spots I could have used bass clef, but players didn't like it. Using several materials: Messiaen's modes combined, add rhythms, atonal series, interval sets, secondal, quartal, quintal harmonies, canon, etc... Meter is odd, but I think necessary here, otherwise the three clarinets wouldn't be coordinated. That's what Messiaen says: when there are more than one player, use meter... MOVING - SCORE.pdf
  5. I don't remember a piece for prepared piano in the forum... Perhaps there is. I've been studying and experimenting... I know this is not a "standard" to listen to. In fact, I think prepared piano deals with rhythm and colors. But I like it. This is not my piano, impossible in an upright. I tried to put some objects but it's quite hard and they fall down. So it's a virtual piano. LABYRINTH.pdf
  6. Hi... Since I learnt of the Mosaic Form from Stravinsky (Symphony of Wind Instruments), among others, I fell in love with it. In it, there are a number of short parts that the composer put together in different manners. So, the concept of classical forms, and the concept of repetition is simply another one. This piece takes the idea of the labyrinth from the other side (compared to the one in the prepared piano piece). This one looks inwards and I wanted to write something "intimate". So, this work is written for another kind of prepared piano: it should be played with the una corda pedal all the time, and with a fabric on the strings of the piano, to get the sound. There are 11 fragments using always pentatonic scales (some of them with two scales at a time). There are two expositions of the material: Firstly in a sort of "disorder" (as looking for the exit), secondly in the "right" order. Details can be seen in the final page of the score. I am aware that this Mosaic Form is something unexpected (in fact that's its main purpose). You can't compare it to a AB or ABA form, or whatever. Its organization takes its essentials in other concepts. LABYRINTH 2 - SCORE.pdf
  7. Piece: http://picosong.com/pYjG/ Sheet music thus far: https://drive.google.com/open?id=0B-WkFk0zutrdZVVtM19CaVExcmM This is a composition I am working for school and the piece is inspired by japanese, jazz and other modern piano solo music. I am in the process of writing it and would love an opinion and perhaps a few tips or pointers as to how it is going so far and potential developments later on. I am able to play it on the piano but it will require practice of sorts XD Hope you enjoy!
  8. Someone would kill me for this... I thinks it's playable, I've taken care about each string and intervals.
  9. Simple piece with piano + flute part playing 7 against 8, and a middle solo flute section using additive and changing rhythms and Messiaen's mode 5 in several transpositions. https://soundcloud.com/user-417172164/indigo-night
  10. This is what I see now from my window right now (well, I live in the mountains). And this is how I "feel" it with music. Yes, there are some measures (74-75...) where the flute is quite dissonant. It's not a mistake, I wanted it. For me it's beautiful (it means something, to me). link to soundcloud (mp3 player doesn't work, I'm afraid): BLOSSOM
  11. This is a piece I would really like to transpose with more strings and entire orchestra..but for now it remains written for 7 string guitars in B flat. Sheet music for each individual instrument is unfortunately in each single pdf. Sorry. Also, please forgive the midi sound haha. Feedback is much appreciated!Mark My Face.mp3
  12. This piece was originally written on my 6 string guitar in C#. I managed to get a nice sound out of the grand piano in Reason. I am still working on fixing the velocity to give the piano a more realistic and human feel. I love this though, it's fast, energetic, innovative and really a breath of fresh air to write.
  13. This little piece uses different contemporary techniques such us random dynamics, interval set, dodecaphonic scales, etc..., in a counterpoint background including canon (octava, motu contrario, prolation).
  14. Hey! This is my piece called Screw the Violin! for 2 Violas, 2 Cellos, Double Bass, Marimba and Percussion! It has lots of Metal/Djent idioms splattered around! You can listen to it in the soundcloud link! Hope you enjoy!
  15. 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
  16. 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 wanted to listen to my playing while watching the sea. After a while they left and so I thought that maybe they didn't like it, but they soon came back to the exactly same place near to me with a blanket and stayed there until I left. So I thought If they like it, I should make a composition out of what I was playing and this is it. It's played by me and the waves in the background are recorded in Ireland by my friend. I hope you'll enjoy! :)
  17. 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 few photos of her and asked me for my permission to use my piece Ballerina for this video and It was a real pleasure for me so obviously I agreed :) He liked the piece very much and so I hope you will too! Any criticisms are welcome of course!
  18. 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!
  19. 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 uses different techniques at the same time: tonality vs atonality, aleatorics vs clear pulsation - clear melodies vs aleatoric counterpoint. I wish you pleasant listening!
  20. 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 sorry for my english is very bad.
  21. 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 also ask the opposite question regarding works written in a more traditional tonal idiom. Which of those « works would you consider to be less accessible, and why? Thanks for the help, and sorry for any mistakes.
  22. 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 work for electric cello, please go for it! It's a beautiful instrument, with a very cello-like sound, but with so many possibilities. About the instrument I think I need to write some details about the instrument. Using an electric cello without anything else would be quite boring and stupid, so I have 2 pedal systems: Line 6 POD HD500 is my effect processor, and BOSS GT-100 is my loop station. With the effect processor, I can have plenty of effects like delay, distortion, reverb, transposing, filters, phaser etc etc etc... so what electric guitars have. You can connect 8 effects, so you can have delay and distortion in the same time. I can attach a pedal touching for each effect, so I can turn them on and off individually. It can have stereo sounding too, so you can make different effects on each side. I know that this is not enough information, but if you're interested, you can check the electric guitar effects on the internet, and you will find a lot. You can use them. Or for example you can say in the score that "I would like to have here a mysterious sound" or "Please add here a strange effect, what makes the audience wake up". So trust me, I can help, you just need to make a good question :) The Boss pedal is a loop station, so I can record there (to 3 separated tracks - we can synchronize them, but that's not a must, they can have independent tempo, timing), and it repeats as long as I want. You can delete the whole track, or you can stop them, fading out, or immediately. Also there is a "stop/start everything" pedal, which is very nice - an immediate silence is always a nice thing. It has some effects too, but very bad ones, I don't use them. About the pedals (mainly the Line 6 one) you need to know, that pushing a pedal has a noise, so count with that. (on the recording you won't here, but life it can be audible in the first 3-4 rows. You can compose it in the work, if you want! :) The cello itself is really like a normal acoustic cello, just it doesn't have the body, and works with battery. :D About the works I would like to play With the loop station, it's quite easy to write and play 'popish' music. You can also write some meditation music, with the loop station, sustained notes repeated, for example. Check youtube for some ideas, if you don't know, how looping works, there are many videos. Of course I would be very happy to play some contemporary classical music on the electric cello, and that would be the main aim. I would prefer a work for solo electric cello, or cello with recorded accompaniment, as I don't really have an other musician, to play together with... :/ It may be possible, that I can record the accompaniment, if you want to use the Steve Reich technique. The most important thing: the work should be for electric cello. You can rewrite your solo acoustic cello works if you want, but changing the title is not enough for me. I would like to see some effects, new ideas, creative things. One other, but very important thing: I'm still not a professional cello player. You can write complicated things, but not very very complicated, I don't really have time to practice a lot. Please excuse me for it! What I can give The works I like the most I will perform (sooner or later). I would like to have some solo concerts until spring, because organizing a solo concert is much easier, than anything else. Also I can make recording in my home studio if you want, is less work, then playing on a concert. :D If you have any questions, please don't be shy! And you can write it here, to help the others. Also if you're interested, please write! I would like to know, if anybody is thinking about my idiot ideas :D My e-mail address: gollam12@gmail.com. Please use the subject option in the mails, because I get many emails during one day, and I don't want to miss any of yours! Good luck, have fun! Marcell Magyari
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