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Found 7 results

  1. Overture for String Orchestra Official - Flow 2.mp3 Overture for String Orchestra Official - Flow 3.mp3 01 - Full score - Overture for String Orchestra (1).pdf This is a work-in-progress for my youth chamber orchestra that I started in March 2020, and I envision it being between six and eight minutes long. The file titled "Flow 2" is the beginning of the work, joyful and energetic, and the one titled "Flow 3" is a heartfelt violin solo meant to come near the end. I have also attached the score. I have become stuck with this Overture, and am unsure what to do after that brief recap of the beginning. How can I tie the violin solo into the rest of the piece? And how can I heighten the drama? Any feedback and advice would be appreciated. Thanks, MissCello
  2. Time is eternal. As sentient beings, we often fail to understand that despite the eternal nature of time, we -ourselves- aren't. At some point, our lights will extinguish -our lives will come to an end. This is scored for a chamber orchestra of one of each woodwinds (, brass (, vibraphone, timpani, and strings. Compositionally, this is an abridged sonata form. The exposition lasts for roughly the first minute, the development section lasts most of the work. The recapitulation was shortened to just a restatement of one theme (with textural variation) with coda. I'd love to have some comments regarding the orchestration -as that's still an area I'm trying to strengthen. Hope you enjoy!
  3. Saw an interesting comment in a post in the upload where someone was trying to describe their music in terms of whether they were 'neo-baroque' or not. So, figured it'd be an interesting discussion to be had -but... I don't want to just see a one word explanation of your music. So, I'll describe how I view my work -my language, my view, nada nada nada- and then you can follow suit. In other words, let's make this a valuable discussion. I consider my music to be chiefly modern. By that, I use a harmonic language rich in dissonance and outside of the traditional concepts of tonality (notice I didn't say my music was purely atonal). I do consider harmony and tonality to some degree -even in my more serial guided works. I also consider myself a neo-classicist. I strongly value form and tradition and believe staunchly in utilizing structure to make the most out of limited material (hence you'll see a lot of development and counterpoint within my works). I also, at times, borrow from other aesthetics and fuse different -often far separated- techniques together. It's not a fetch to see a whole tone derived section within a work of mine that is heavily centered on a serial row. Thus, you could say I'm a neo-classical modern eclectic.
  4. Inspired by Bach's Cello Suites (and chorales)...
  5. Hi, my name is Ramón E. and I'm a beginner composer, also new to this forum. This is a short piece I wrote for a friend back in November, I want to know what you guys think.
  6. I wrote this a few years ago and I still think it's one of my best works. I initially planned on writing a symphony, but I ran into writers block during the 2nd movement and decided to just release movement 1 as a standalone overture. (I eventually did complete a full 4-movement symphony a few months ago, but not based at all on this material, nor in the same key.)
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