Jump to content

Search the Community

Showing results for tags 'flute'.

  • Search By Tags

    Type tags separated by commas.
  • Search By Author

Content Type


Forums

  • Board
    • Announcements and Technical Problems
  • Upload Your Compositions for Analysis or Feedback
    • Works with Few Reviews
    • Opt-In Works for Youtube
    • Orchestral and Large Ensemble
    • Chamber Music
    • Choral, Vocal
    • Piano Music, Solo Keyboard
    • Incidental Music and Soundtracks
    • Jazz, Band, Pop, Rock
    • Electronic
    • Incomplete Works; Writer's Block and Suggestions
  • Community
    • Masterclasses
    • Music Appreciation: Suggest Works or Articles
    • Composers' Headquarters
    • Repertoire
    • Performance
    • Advice and Techniques
  • Competitions and Collaboration
    • Competition Hall of Fame
    • Monthly Competitions
    • Collaborative Works
    • Challenges
    • External Competitions
  • Technological
    • Music Jotter
    • Music Notation Software Help and Discussion
    • Sound Libraries
  • Rite of Spring analysis Club's Part 1: Introduction
  • Rite of Spring analysis Club's Part 1: Ritual of Abduction
  • Rite of Spring analysis Club's Part 1: Spring Rounds
  • Rite of Spring analysis Club's Part 1: Ritual of the Rival Tribes
  • Rite of Spring analysis Club's Part 1: Procession of the Oldest and Wisest One
  • Rite of Spring analysis Club's Part 1: The Dancing Out of the Earth
  • Rite of Spring analysis Club's Part 1: Augurs of Spring
  • Play this Passage's WHO PLAYS WHICH INSTRUMENT(S)
  • Play this Passage's HOW IT WORKS
  • Music and Media's Discuss and Collaborate on a Project
  • Young Composers Preludes and Fugues Project's Rules and Guidelines
  • Young Composers Preludes and Fugues Project's Submit a piece

Calendars

  • Community Calendar

Find results in...

Find results that contain...


Date Created

  • Start

    End


Last Updated

  • Start

    End


Filter by number of...

Joined

  • Start

    End


Group


MSN


Skype


Jabber


Yahoo


ICQ


Website URL


AIM


Biography


Location


Occupation


Interests


Favorite Composers


My Compositional Styles


Notation Software/Sequencers


Instruments Played

  1. This is my first post on this forum, I am looking to get some feedback on a piece I have been working on recently. The chord progressions are of constant structure, non-diatonic major chords, switching to non-diatonic minor chords for the second section. Be warned, I am a big fan of dissonance; if it's too much for you please don't hesitate to include that, I sometimes go a little over the top after listening to the same thing over and over, and I don't realize until later. euphoralgia.mp3
  2. Quiquern Part One: The People of the Elder Ice One of my favorite short stories of all time is ā€œQuiquernā€ by Rudyard Kipling, from The Second Jungle Book. If youā€™ve never read the two Jungle Books, I highly recommend them. The Disney film only scratches a tiny surface compared to the epic stories by Kipling (Mowgliā€™s story is really only the first of like 20 stories). The writing is so crisp, and these stories do what all great sci-fi and fantasy stories do: they create an entire fully-formed world for the reader to explore. The world is rich and complex, and the lessons it teaches are piercing and difficult to shake. The Disney film is fun and jazzy and hip and carefree; the written stories are raw and wild, filled with the brutal poetry of the jungle. The characters are bound by the laws of the jungle, the unwritten rules and shared understandings that guide every action the animals take. The laws dictate how to behave in times of drought, when and where hunting is permitted, and how to interact with the ever-expanding, dangerous world of Men. Only Mowgli is unbound by the laws of the jungle. Therefore he rules the jungle. Mowgli = boss There are also so many hidden messages and deeper meanings packed into Kiplingā€™s verse. Every story begins and ends with poems, the meanings of which change after reading each story. For example, this one: The night we felt the earth would move We stole and plucked him by the hand, Because we loved him with the love That knows but cannot understand. And when the roaring hillside broke, And all our world fell down in rain, We saved him, we the Little Folk; But lo! he does not come again! Mourn now, we saved him for the sake Of such poor love as wild ones may. Mourn you! Our brother will not wake, And his own kind drive us away! At first reading, it is a nice little poem. But after reading the story that follows it, ā€œThe Miracle Of Purun Bhagat,ā€ the poem becomes so tragic and beautiful. Every story has these lovely little nuggets, and they make the reading experience so rich. ā€œQuiquernā€ is the story of a young Eskimo boy who lives in a tiny village surrounded by a frozen arctic wasteland. The villageā€™s only source of food is seal meat which they catch with the help of their many well-trained dogs. One particular dog is born a runt, shrunken and sickly in the freezing wind. However the young boy cares for the dog, and raises him as a member of his own family. His love for the dog is pure and innocent, and together they frolic in the snow like siblings. One year the winter is especially harsh, and the ice does not recede. The surplus seal meat runs out, and the people of the village soon begin to starve. In their moment of desperation they eat the wax from their candles, the leather from their belts. Their beloved sled dogs, still chained together in groups of eight, insane with hunger and fearing for their lives (just as lion cubs must fear their mother in times of hunger) break their chains and run screaming into the white waste. The people of the village become living skeletons. The boy and a young girl from the village, still strong in their youth, announce to the village that they will venture out into the ice storm and find food for the village. It is suicide, but nobody stops them. Within days of their departure they are hopelessly lost, freezing, and beginning to hallucinate. They kneel shivering in the snow and announce to the heavens that they are man and wife. As darkness closes around them they pray to Quiquern, the eight-legged spider god of the arctic, for salvation and mercy. In the morning, as light slowly creeps over the white hills, the two children open their eyes to see a massive creature barreling toward them in the distance, eight legs scurrying effortlessly across the snow. A giant, hulking body becomes larger and larger in the morning haze. Quiquern has arrived to devour them; they are helpless as newborn seals. It is the end of their short lives, the end of their people. Two freezing, starving children prepare to die alone on a frozen plain at the edge of the world. However as their eyes focus, they soon realize that the eight-legged creature is actually eight dogs, running wildly through the snow pulling an empty dogsled. The dogs are well-fed and excited, blood dripping from their snouts. At the front of the pack is the runty dog the young boy once saved, frothing with joy at the sight of his oldest friend. Carried by the sled dogs, the two Eskimos travel for miles to an open pit in the ice, where fat seals emerge for air. The dogs had found the hole in the ice and gorged themselves on meat. The boy and his wife fill the sled with food and return to the village as heroes. The village, now inhabited only by ghost-like creatures with sunken eyes, celebrates by burning whatever candles they have left. An ancient people go on. This story burrowed down inside me and left its mark on my soul. Iā€™m not sure why, I canā€™t explain it, but it filled me with the urge to write music. Originally I set out to write something eerie and cold and empty, three flutes crying out across the Arctic plain. But as I wrote, I realized it needed some bass, so I worked a piano into the mix. Years later, I switched out a flute for a clarinet to give it one more color, and that ensemble is the one that remains. Iā€™ve always loved my piece, Quiquern, just as Iā€™ve always loved the story Quiquern. I canā€™t exactly say what it is that draws me to both, but drawn I am. Over the years Iā€™ve written notes about this music in the margins of my journal: ā€œDonā€™t forget, you love Quiquern. Donā€™t discard it.ā€ Quiquern Part Two: The Dog Sickness The second movement is called ā€œThe Dog Sicknessā€. I thought ā€œQuiquernā€ was complete years ago. Time and again I would declare it officially finished. But then, months later, something just wouldnā€™t sit right with me. Iā€™d pry it open again and tinker with its innards. Maybe it will never be done. Maybe Iā€™m destined to dance with this score til the end of my days. Donā€™t get me wrong, I have always loved this music. Every time I pick it up again, Iā€™m reminded of why I have such a sweet spot in my heart for ā€œQuiquernā€. It evokes so many positive memories: of writing it over Christmas break in San Diego, of reading The Jungle Book over and over, of experimenting with new sounds (new to me anyways), of unhinging my creativity from purely classical harmonies and letting go a bit. Like this sort of thing: I never go full atonal, Iā€™m always chained in some way to classical forms and progressions, but this piece freed me up in some ways I had never tried. I went wandering a bit through the cold wilderness. I let the images in my mind solidify into a color palette. I focused on the story the sounds told, rather than fussing about the progression. This allowed me to express all the pain I felt after reading that beautiful, heart-breaking story. A forgotten people, starving alone at the edge of the world. So why, if this music was so compelling, couldnā€™t I call it ā€œcompleteā€? Well there were a few reasons. One is I just wasnā€™t thinking about form when I first wrote it. I was in ā€œcrank it outā€ mode, writing down whatever ideas popped into my head. I tried to free up my creative process and stop self-editing as I wrote. As a result, the music flowed pretty freely out of my brain, and the harmonies were weirder than I was used to. The musical nuggets that emerged were captivating and exotic. But there was no overarching shape to the piece. It was just idea after idea, with very little connectivity. Throwing a bunch of nuggets into a pile donā€™t make it a whole chicken. This time around I wanted to work on that. This is the sort of pre-thought that Schoenberg went on about. In other words, real composers think about form and structure BEFORE writing, they donā€™t just wander around in the dark hoping to bump into a complete form. When I put some thought into this piece, I was able to picture the arc that I wanted to create with the music. A chaotic, hallucinogenic dream sequence, sandwiched on either side by a poignant but solitary theme calling out in the dead stillness of the ice-fields. Perhaps the middle is what the dogs feel as they begin to starve, giddy and terrified and angry; the beginning is what the Inuits feel watching their beloved animals suffer in the dark, knowing what awaits them if another source of food is not found soon. ā€œWhat is it?ā€ said Kotuko; for he was beginning to be afraid. ā€œThe sickness,ā€ Kadlu answered. ā€œIt is the dog sickness.ā€ The dog lifted his nose and howled and howled again. ā€œI have not seen this before. What will he do?ā€ said Kotuko. Kadlu shrugged one shoulder a little, and crossed the hut for his short stabbing-harpoon. The big dog looked at him, howled again, and slunk away down the passage, while the other dogs drew aside right and left to give him ample room. When he was out on the snow he barked furiously, as though on the trail of a musk-ox, and, barking and leaping and frisking, passed out of sight. His trouble was not hydrophobia, but simple, plain madness. The cold and the hunger, and, above all, the dark, had turned his head; and when the terrible dog-sickness once shows itself in a team, it spreads like wild-fire. Next hunting-day another dog sickened, and was killed then and there by Kotuko as he bit and struggled among the traces. Then the black second dog, who had been the leader in the old days, suddenly gave tongue on an imaginary reindeer-track, and when they slipped him from the pitu he flew at the throat of an ice-cliff, and ran away as his leader had done, his harness on his back. After that no one would take the dogs out again. They needed them for something else, and the dogs knew it; and though they were tied down and fed by hand, their eyes were full of despair and fear. To make things worse, the old women began to tell ghost-tales, and to say that they had met the spirits of the dead hunters lost that autumn, who prophesied all sorts of horrible things. Prayers to a cruel and fickle ice god. Now the music told a story. And while I was working on form, I also put more thought into motifs. This piece has a lot of rich material, maybe even too much. Though I love that there are so many fun ideas in there, sometimes it plays like one of those Beatles songs with too many good ideas but no development. This time around I went through the piece with a needle and thread, and wove my favorite motifs into the very fabric of the piece. In and out they come, appearing and disappearing again, becoming more recognizable with each appearance. Just as a chef might pour a bit of the boiling gnocchi water into the sauce to bind all the flavors together, my goal was to bind all the ingredients of this music together into something coherent (and tasty). Like this motif, which appears everywhere: Or this rhythmic motif: Just because Beethoven used it in his fifth symphony, doesnā€™t mean itā€™s off-limits forever. There was something else fundamental that needed retooling: instrumentation. Originally I chose three flutes and piano for this piece, because the flutes evoked the lonely, frozen tundra. But as I was writing, I didnā€™t pay enough attention to the limitations of the flute. I wasnā€™t writing in an idiosyncratic way, I was just cranking out music. The used a lot of low Cā€™s on the flute because I liked the sound, but I knew the notes were ringing out stronger in my head than they would on a real instrument, where that low C is easily covered up and lost in the mist. I considered an alto flute, but decided a clarinet would give me a whole other palette to play with. When on phases in a new instrument like this, one canā€™t just paste the flute part into a clarinet staff and call it done. The addition of the clarinet changed the whole character of the piece. While the flute is cold and isolated and graceful and metallic, the clarinet is like warm baking bread. Itā€™s also intense, frenetic, a bit insane at times, with low earthy tones that can feel angry or foreboding or subdued. That new voice greatly expanded the range of the piece, so I was able to open the music up a bit and let it breathe. All these forces combined into something much different than the piece Iā€™ve been kicking around all these years. This version feels like a completed piece of art. Itā€™s not just a sketchbook of ideas, itā€™s a story arc with real meaning. In other words it really does feel done. For real this time. Seriously. Now I have the final movement to think about, but I might just put this piece down for a while, maybe a year or two. I want to orchestrate something!
  3. A sonata for flute a wrote about a year and a half ago. I still consider it pretty good which is rare for me and my "hating pieces I've written" track record. Hopefully y'all agree!
  4. I apologize for the quality. Unlike my other pieces whereas I wore studio grade headphones (which died on me after six years) I am now limited to ear buds, so mixing was an issue for me. There's so many sound flaws here I'm embarrassed to even upload this. You can barely hear the choir, the flute fades in and out, the clarinet can't be heard, and you can't even hear the viola or cello...ugh.
  5. This short little piece was written in response the Birthday Composition Challenge: My instruments came out to be Flute and Vibraphone. I was also inspired a little bit by Luis Hernandez's entry in regards to serialism. This is the first time I've written for this combination, where both instruments are very exposed. Feel free to comment on where I can improve.
  6. Here's my latest composition, and probably my last one before I start my masters degree! I wrote it for a newly formed flute quartet at uni. I'm really happy with how most of it sounds overall, and I got a lot of productive harmonic experimentation in there. My main worries are whether the structure works overall as a piece, and in particular there's one transition (bars 115-123) that I couldn't figure out how to do right, it just always sounds kind of clumsy and contrived to my ears despite going through a few revisions. Score is in C for the purposes of this site. I'm waiting to hear back on one minor thing before I clean up the parts and send it to them.
  7. Again, I was not sure whether this qualifies for the chamber music or the large ensemble category, but here it is. Powder Peony Waltz is a Viennese waltz written for whatever group of instruments I like (modified orchestral ensemble with ornaments in the form of a piano and celesta). I know that the transition between different keys is extremely awkward and chord progressions are not very fancy, but I was simply asked to write a quick small piece for dance class at my high school for their annual ballroom dance show. I intended to make this sweet, flowery, and light. Thank you for listening an enjoy!
  8. Hi I've been working on something simple but funny (for me). Inspired in the life of my cats, I'm doing a king of little suite for flute, clarinet and piano. The clarinet is not transposed in the score. Well, music for me is this, too... T I've written too pieces (working on more): Awakening: the moment when the all come back from the dreamworld. Purring: including the sound of Dexter.
  9. Fantasy_Land.mp3 This piece was written for flute and piano. I wrote this while I was in school and what inspired me to write it was my dreams. I though why not write a piece on different types of dreams you have. This will be a multi movement piece and this is the prelude called dreamcatcher. Please let me know what you think of the piece. Thanks!Click to choose files
  10. 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
  11. 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
  12. Solo melodies are harder for me... I usually think of music "in harmony".
  13. 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.
  14. 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!
  15. 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!
  16. 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
  17. 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!
  18. 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.
  19. 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/
  20. Here is another chamber sonata in three movements, this time for flute and piano. Let me know what you think!
  21. 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.
  22. 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:
  23. 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.
  24. 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
×
×
  • Create New...