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Showing results for tags 'modern'.
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The idea behind the first part of this movement is the growth of material from one note to its full statement. The clarinet, trumpet, violin, vibraphone, and trombone all play there own material treated in this manner. Each statement introduces a new note to their material. The bassoon and bass provide a sonic backdrop to this unravelling. I plan on expanding on this idea in other works -this was a fun idea to work on. Hope you enjoy.
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I started this quintet with the intention of entering this into a competition -so, I've been working pretty intently on it (to the point that it's all I think about). Here are the first 2 movements: 1. Andante: The first movement serves as a sort of introductory movement. The movement utilizes the short two bar theme presented in the opening (this theme also permeates large portions of the work as a whole). The theme is presented in all voices, leading to the establishment of a 'hopefully' hypnotic pattern -through which I play with the theme and introduce contrapuntal material. The structure is ABA'. 2. Allegro Con Fuoco: This is the movement so far that I've spent the most time on -and this is revision number 4. The opening two bars introduce an ostinato pattern that is taken up by ALL instruments within the quintet. This movement is meant to be faster than what I have set. I've slowed it down to give more attention to detail. 3. Adagio Semplice: To compliment the 2nd movement -and in stark contrast texturally- this movement is more of a mediation and prayer-like movement. The movement is slow and contemplative. At any rate, I'll post the final 2 movements once I've finished them. Hope you all enjoy these experiments.
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This piece doesn't really expand on the idea of the episode much more than the last one -instead, I develop more attention to the material within the overall structure. Sorry for the rendering, I think the sffz destroyed my speakers!!!
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In this piece, I've taken the ideas I had behind the formal structure of my earlier upload, Episode #1, and I've changed it up a bit (largely listening to the critiques that work garnered). I've never been good describing my ideas in detail -long standing trait. Much like Episode #1, this work takes the basic Rondo structure and expands upon it. When I originally thought of the idea for an episodic (rondo-like) formal structure, my original goal was to intersperse the A sections with heavily contrapuntal material (B, C, and D sections all being fugal in nature). While I still may do a work like this in the future, I think that -for now- I'm trying to find a way to make this type of structure work for the language that I use in my works. The score is a lot nicer (thank you MUSESCORE!)
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Closer to the finished product. This piece is intended as a submission for a music festival -so, I'm trying to make sure it's as close to perfect as possible. I've expanded the second entrance of the slow section -playing around with the ascending chromatic scale alongside a 4 note motive. This work is a bit personal to me in that it is a reflection on life, death, and my own experience of the two (under the lense of bipolar disorder). Hope you enjoy!
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Prelude III: This prelude is more of a meditation, similar to prelude 1 -however, this is non-serial. The basis is the left hand arpeggiation pattern. Hope you enjoy! Prelude IV: This prelude, comprised of only 4 notes, is a theme and set of variations on the opening 2 bars. I tried to keep interest. Still tinkering with musescore -so some of the articulation marks at the ending are incomplete. I'll add those later. Hope you enjoy!
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While working on this piano concerto, I have a lot of material that I'm leaving out -and have decided to use in smaller works (particularly for the purpose of keeping clarity in my material for the concerto). This work uses a tone row built upon intervals of the 4th. The opening bar, which creates a ritornello throughout the work, is the full row. Some notes about the compositional processes I used in this piece: 1. The form could be considered a rondo of sorts. The ritornello passage is labeled E. This returns after each 'episode' labelled C. I chose to keep this material identical. I may at a later date change the last entrance of the ritornello (mirroring it into the retrograde so that it ends on the note the piece begins). 2. The various episodes tinker with aspects of counterpoint (stretto, imitation, invertible counterpoint). The first episode superimposes rhythmic variants of the thematic material creating a rich texture. The second episode takes this type of superimposition and thins it out a little bit (leaving the superimposition to only two voices, while the remainder of the material is condensed into the chords seen in the left hand). NOTE: The second episode does NOT use the full tone row at all -at least not in order. The third episode plays around with invertible counterpoint and imitation, with a twist. The final episode -nearly devoid of counterpoint- is more intended on providing material to close out the piece. Hope you enjoy. I'll be cleaning up the score here in a few weeks once I get my new laptop set up!
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This is one of my all time favorite pieces by Gubaidulina. I tend to think of this piece as a good example of how unique and eclectic the composer's voice is in our own time. Gubaidulina takes traditional ideas of the concerto and adapts them to the more modern ideals relevant in our own day. An amazing work. I hope everyone enjoys it as much as I have.
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There's so much to be said -with sometimes not enough time to say it. The same is true of music. So many ideas, and yet... we're left with so much longing after each piece. This is the idea behind this work. The ideas are pretty basic. There's some dabbling in serialism, free atonalism, combining tonal systems with serial rows, and a little more. NOTE: The scores aren't that well done. I'm using Flat (a free notation software) since I can't install Finale or Sibelius to my chrome book -and I am moving the pieces from paper to there. I'll be updating the scores once my new laptop arrives and I can get Sib installed again. Until then, I've done my best in adapting to Flat. It's not a bad notation software (though the midi sucks). My apologies! Hope you enjoy!
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I've noticed there aren't many pieces representing more modern musical styles -so I'll add one of my newer works. This is part of a larger series of smaller piano works (Images). I apologize about the score, I used 'Flat' to input it from my manuscript and still am not used to it. Hope you enjoy!
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My latest composition, a piano miniature in G. With some chord progressions i ,,walked'' through some few other tonalities.
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A short piece intended for a competition but not submitted because of time and other constraints (at least 4 movements were needed). EDIT: I should mention that all movements had to open with common thematic material. In this piece that material lasts the first 12 seconds. Lasts 1 minute. I'm told by a pro who looked through it last night that it would need at least a quartet player to perform it. It should keep any cellist on their toes.
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Hey there, Here is another piece which I have been working on this semester! I really need to come up with a fun title, so if anyone has any ideas, please share! Also, I am happy to hear any comments on this work. It is in four movements, and I hope that you enjoy each of them (my personal favorite is the third one - 'Largo'). -
This as an experiment into complex forms: Being based on the Five Classical Canons of Rhetoric, the second of this set is disposition. This piece is designed to outline the thought process by first taking raw information (pizzicato entrance), organizing it into a series of fugues (each being progressively more resemblant to the theme running through the set, the "thesis" theme), until the material is combined to create a satisfactory product (having resolved all issues of synthesis, then the end section) to be used in the overall metaphorical "oration" (i.e. the intent of rhetoric). I have more detailed an explanation attached, as well. -
This is a piece of which I am very proud. In part, it is dedicated to the city in which I am currently staying -- Prague. This is more than likely my most complex work (structurally), and I hope to use this piece as a learning experience. Here, the viola acts as the leader of the orchestra, which experiences a tremendous journey that spans more than 30 minutes in a contiguous manner. I have included an analysis and I hope that you enjoy!
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Trying to recognize and reject the concept of sonata form by presenting transformations of the same motif's in a continuous dynamic every-changing cycle. Looking for constructive feedback... https://www.youtube.com/watch?v=LlarRvohpI0
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Staying in Prague (which is in the heart of Europe), I used the Romani people and their culture as inspiration for this very short piece, that is in a dance-like character. I was approached by a Gypsy soothsayer whilst here, and this encounter inspired me to write music. The material is short and concise, and it borrows influence from Central European nomads as such. I'd love to hear your input and enjoy!
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Hello everyone. It's a rough few months for me in a lot of ways, so this is really the first piece I have put up in a while. I don't often talk in the forum, as I usually just post. Anyway, here is my first, proper symphony, my Op. 41, and it is about my stay at Dublin last spring. I loved my time there, and I plan on returning soon. It is in four, semi-programmatic movements, and the whole piece is about 40 minutes. I really wanted to share it with everyone, so let me know your thoughts and criticisms, which I always appreciate. Thanks!
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Hey, guys! I’ve taken a bit of a break from the site, but I want to share some of my music with everyone. This is a “novella” for flute, clarinet, and bassoon, so termed in reaction to the narrative quality of the piece, as well as the episodic vignettes that occur throughout the work. I finally feel more comfortable with my own, personal style and musical voice, and I am quite pleased with the result. I would love to hear your feedback on what you hear – e.g. the difficulty, the duration, the technique involved, etc. – so that I might be able to thoroughly improve the piece (especially since I am always learning)!
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Inspired by the second movement of. Messiaen's Quatuor pour la fin du temps, as well as my first time writing anything remotely in a modern style. Ternary form with a break in the B section returning to temporary traditional harmonies. An experiment in dissonance, bitonality, chromaticism, and quintal harmonies. And yes the English is bad for a reason. Comments and critique welcome!
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I wrote this for a 48 hour composition contest in Seattle. It did relatively well! The performers misinterpreted some of the markings but they had such a short time to learn it, I understand why that could have happened.
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Hey, guys! I just finished work on the first movement of a new sonata, this time for oboe and piano; it was a quick two days. I was first planning a piano sonata, but I shifted my mind over to a duet like this instead, a form in which I enjoy writing the most. The sonata, I plan, will have three movements, and this is only the first. It has several main key areas/significant harmonies, and all of them are in mm. 30- 31. This is a piece with a story-without-words, with many motifs depicting the motions and movements of the eponymous frogs and of flowing and dripping water. While much of the music could have been conceived of in 6/8, the music finally transforms starting in the frog dance at m. 156, wherein first the meter changes into the easiest conceptualization of the original music, then it shifts from duple into triple (i.e. the oboe's introductory line), and finally back into compound duple as its final transformation, all the while taming the bombastic eccentricity of the previous material, as well as the shifting harmonic language and chromaticism. Let me know what you think! P.S. The type-facing is elementary and it will be adjusted in the final drafting process, when the following movements are done.
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Here I have a short piano piece that I have termed as a 'pastel,' a term I find to fit well (especially with the heavy sustain and blending used throughout). I have had a particularly difficult time composing solo piano music; and, for this project, I recorded myself improvising. I was happy with the end product, so I transcribed the piece from the audio. Before recording, I had a general idea that I wanted to depict a color, so, to begin, I merely envisioned the color blue, and I played. Like my recent projects, I found a painting by Georgia O'Keeffe -- "Blue, Black, and Grey" (included in the score) -- that I think matches the music well, and that I feel coincides well with my original thought process. Being improvised, it is very much reminiscent of "stream-of-consciousness;" though, while I played I attempted, at least, to follow different melodic, harmonic, and otherwise motivic fragments in mind. Nonetheless, I am interested to hear your thoughts on a relatively unformed area of my compositions. The audio I included is my improvised session, from where the audio was transcribed, and I wanted (as well as I could) to preserve the liberative quality by use of abundant time signature changes, which almost add a moment of pause for the performer (as though they were composing themselves). My ultimate goal is to complete a set of similar pieces, all on my perceptions of different colors.
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Here is a short piece for flute and piano entitled “aquarelle,” a French term used for watercolor paintings. The inspiration for the term came from Frederick Delius (a favorite composer of mine), who used it for two of his chamber pieces. For me, the term helped me better envision what I intended to depict – a study of the sky (which itself was derived by the watercolor that I paired with the music by J. M. W. Turner). The piece is divided into three clear sections – the first and last being very similar – depicting the passage from open sky to clouds back to the open sky above the clouds. In the first section, the piano has a brief introduction, which is meant to flow like a gentle breeze, before the flute sets a gentle melody on top of it. The second section is a view of the clouds, which come and go like giants, flowing from one to the other; at the end of this section, grace-note figures in the flute part are introduced to resemble the flapping of a birds’ wings fighting through the clouds. The final section is back to the soaring melodies from the first section, now with the grace-note figures as a constant image. The piece ends abruptly with the flute, just how gust of wind might blow at full force only to die away suddenly. Like all my recent chamber works, I am going to try to obtain a recording of this work. Wish me luck, and I appreciate any comments, just as usual!
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Hello, everyone! Here is a short piece I wrote this week for English horn and piano based on a poem of mine; the poem is simple, and motivated by image (a writing style of which I am very fond). I have termed the piece as a “fantasy,” mostly due to its free-flowing form and structure; if I were to expand on that, it very much conforms to an introduction—caprice format. The piece coincides with the poem, wherein a young boy is wandering about a savanna plain, playing, and comes to a rest in a dense, gum-tree grove. Here, he begins to fall asleep next to a cool brook – which was hidden by the trees – and he begins to imagine capricious pixies and fairies dancing around. Section I – the introduction – is serious and flowing, shifting from 4/4 to 6/8, and it depicts the oppressive summer heat and the haziness of the powerful sun; section II – the caprice/dance – is playful, light, and in 7/8, introducing intrigue, enigma, and a break from the heat. Overall, it is a relatively short and simple piece, and I will hopefully work on a recording of it, along with my clarinet sonata (after I ruminate all your comments, of course). The English horn is one of my favorite instruments (in part due to its warm and low register), and I really wanted to work on a piece for it. I have attached a watercolor by one of favorite painters, J. M. W. Turner – “On the Washburn,” that I feel pairs with the set well. I’d love to hear your critiques, and thanks for listening!
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