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Found 67 results

  1. Guest

    Nymph's Sleep (Opus 17)

    A small lullaby thing I did for my Music Production (high school) class. The only objective was to produce a piece that will be exactly 2 minutes (my exceeds 120 seconds, but only because of the delay and reverb - I had to leave two empty bars for the sound to go down). I also tried to experiment with the harmony. It's a bit flexible, balancing between C major/minor and G major/minor. I just wanted to get out of the frame of choosing one key and using it's parallel or relative key. On the other hand, I do not want to write atonal music. Nymph's Sleep is written for two harps, glockenspiel, small string section (violoncellos and bassess), flute and bassoon, celesta, and synthesizers (bell synthesizers with a lot of delay). There is no score for this composition yet. Thank you for listening and let me know whether it's harmonically bearable - I did not study harmony yet.
  2. Hi everyone! Here's my piece for flute, violin, cello, and piano, called "Mystic Lands". It's a rondo, but when the A section returns, the instrumentation, harmony, and accompaniment are changed. I also wrote it for a class, so I had to use different harmonic techniques for each section: -For the opening section, I used static harmony/pedal tones. -Letter A uses polychords with major and minor triads. -Letter B uses added note chords. -Letter C uses polychords consisting of seventh chords, quartal structures, quintal structures, and clusters. -Letter D uses compound chords (meaning various intervals are combined to create a non-tertian voicing). Hope you all enjoy!
  3. A small prelude written for my English class - background music for a model based on the setting from A. Huxley's "Brave New World". In this composition, I tried to reproduce the cheap and ignorant, grotesque cheerfulness of Huxley's bizarre world of artificiality. Also, I thought that the concept of all-seeing eye would fit the dystopian nightmare. The pillar of this prelude is my loose improvisation in A major - one of the most happy and cheery keys, in my opinion. Thank you for listening!
  4. First time writing a Bossa Nova after a friend told me about it and I started listening to it a lot. Wrote this piece right after I got out of the shower, hence the title. Hope ya'll enjoy. Taking a cold shower is pretty cool.mp3 Taking a cold shower is pretty cool.pdf
  5. Blissful Morning (Opus 15, classical version) written for piano, flute, violoncello, and a little dose of synthesizer in the finale. Originally, I planned on adding a toy piano sound, but unfortunately my software (Logic Pro X) doesn't have one. Instead of that, one of the syntheiszer leads has been added. The piece is written in F major entirely. I was trying to not jump too much in the rhythm sections or harmony, since my music teacher advised me to try to stick to one idea - sometimes less is more, and ideal doesn't mean perfect. If you like this version, please check out the electro one available on this site too! Thank you for listening, any helpful hints and comments!
  6. So I redid one of the background music for my game. The music is put in the background and is meant to add atmosphere to the game. It is faint so that the player won't notice it much.
  7. This is my 9th Soliloquy for flute. For some reflective moods, I find the flute to be the best instrument for the soliloquy. Here is the link to my previous soliloquy for flute: http://www.youngcomposers.com/archive/music/listen/8289/soliloquy-for-flute-no-8/
  8. Here is another chamber sonata in three movements, this time for flute and piano. Let me know what you think!
  9. A short unaccompanied solo I wrote for one of my flutist friends. My basic train of thought when conducting this was to present a few themes, and then restate them in loose variation style, present a new theme, so on and so forth. When I presented it to her, her only complaint was my grouping sixteenth notes around a key change at measures 15 and 16. I hope some flutists and composers can offer advice and criticisms.
  10. I thought you guys might be interested in my new series! I'm creating 2-3 minute videos about writing for every member of the woodwind family. I also am more than happy to answer any questions that are posted on the video. If you're interested, here's the playlist:
  11. My sonatina for flute and piano, In general this piece mix brazilian rhythm like baiĆ£o, choro and maracatu with some modern techniques of composition.
  12. Guest

    Opus 12

    My first orchestral piece finally done! Opus 12 is written for modified orchestral ensemble consisting of : Piano, Woodwinds : flute, oboe, A clarinet Brass : French horn Percussion instruments : glockenspiel, vibraphone, tubular bells, triangle Strings : violins 1, violins 2, violas, violoncellos and contrabasses. and harp. Composition consists of first part (moderato - E major/C sharp minor), second part (F major/D minor) and third part - modified first part. Since I'm a complete amateur high school student, any helpful hints and comments are very welcomed! Score in PDF format coming soon. For more music please visit : https://www.reverbnation.com/mademoisellelilaclucrezia
  13. Guest

    Opus 11

    Opus 11, written for piano, flute, harp, triangle, glockenspiel, harp and violoncello. You can take a listen to this piece here :
  14. This composition was created in 2004 for here presented quartet. So far it is quite successful: performances in Slovenia, Croatia, Belgium, USA, New Zealand; published by ALRY Publications and won a prize by National (American) Flute Association in 2014 as the best flute ensemble piece published in USA. I can't complain at all When composed, I also considered it as one of my finest chamber composition. It was pretty bold for me back then, today I'd probably try something even more daring. The title refers to yearn for something that seems impossible to reach but eventually it happens!
  15. When I'm composing for full orchestra, I often find that I have trouble writing parts for the Woodwind section. These are some of my favorite instruments as far as their sound goes, but I just can't seem to write very "elaborate" or "high quality" sounding parts for them. Any tips or tricks would be appreciated. Thanks!
  16. Hello I am writing a piece for 4 flutes. Each flute moves up in glissando patterns to create microcanons. I was speaking to my tutor about this the other day and he said that simply going from a low not to a high note via glissando on flute is limited because of the fingerings. My original plan was going from a low F to a high D sharp. with all the tonal and microtonal qualities in between. What is problematic about this? If I am starting from an F what is the highest note I can reach via glissando? Thanks
  17. Saw this and thought I'd give it a post here in case anyone is interested. (: Announcing the 2014 Eighth Annual International Anthem Competition of the First Baptist Church of Worcester, Massachusetts. Scoring for SATB choir with flute and organ accompaniment for a prize of $1550.00 US funds. Complete guidelines are found at http://fbc-worc.org. First performance will be in 10:00 AM worship on May 4, 2014 with Chancel Choir, flute, and organ under the direction of William Ness. Winner announced in March 2014.
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