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  1. I wrote a piece for accompanied violin. It is mostly melodic. Roberto Zini - Elegia Violinistica I hope it is interesting.
  2. Dear Friends, I have finished two short piano pieces. I post one of them here. I'll start another topic for the other one. I'd appreciate if you check it and tell what you think.
  3. Hello, Could you please check my piano piece and tell what you think? Thanks for listening 🙂
  4. Here is a short study for piano, I wrote. Roberto Zini - Studio brillante I hope it is something interesting.
  5. These are my "Three Piano Sententiae Op. 312". They are my 8th set of sententiae for piano. Here is the link to the previous set: https://www.youngcomposers.com/t34332/three-sententiae-for-piano-op-284/
  6. Hi, dear musicians! Some years ago I listened klassical compositions in jazz processig. It was Shopins waltz. Now I am interested: what about classikal music meet electronik, I mean processing. What you think about?
  7. My fifth nocturne. Not too sure about some sections, like from measure 44. Of course let me know what you think and areas for improvements. Thanks.
  8. Here is a short piano piece I wrote some time ago. https://soundcloud.com/roberto-zini-84021232/intensamente-1 Feedbacks appreciated. Thanks.
  9. I wrote this short waltz for piano. I hope it can be interesting. Feedback apprecciated https://soundcloud.com/roberto-zini-84021232/valzer-dei-mirtilli-1
  10. Hi Everyone, Recently I have completed this piano piece which was untouched for a few years. It is a Theme and Variations piano solo piece depicting the fluidity of water, which is an analogy of one's life journey. Water can be shaped in different ways and has different destinations. Although the piece was done in different years (I did the theme and the first 3 variations back in 2014), I tried my best to make the style more coherent. Hope you enjoy the piece! Best, HoYin
  11. Work in progress! Well... so this year is my graduation recital and I wanted to finish with something "big" (Yeah, some weirdly restriction that limits the amount of musicians we can have on the recital) Scored for a chamber Orchestra. Every comment is helpful! 1 Flute 1 Oboe 1 Clarinet 1 Bassoon 2 Horns Strings
  12. I would like to hear from you an opinion on this piece as this is my first time I was writing a piece just for one instrument (in this case piano). This is also the longest piece I have written.
  13. I went over this piece once a teacher I had (on counterpoint) told me I should notate the different tempi for each instrument. What do you think? The world of polyrhythm-polytempi is wide. This is a canon in prolatio where every line is the same at different ratios.
  14. I wrote this piece in 2015, when I was 13 years old. To this day I am very proud of it, and consider it to be my first "mature" work. I might revise it sometime in the future, but as of now, it remains as is. The piece is a set of flowing variations on an ostinato. The piece often shifts keys, the ostinato switches between the left and right hands, and even the meter changes at times. Here is my performance of it on Youtube: I hope you all enjoy it. 🙂 Theo
  15. Hi guys here's a 9min preview of my new piece Emotude for Piano & Cello. Full 16min recording is available at https://mikebat321.wixsite.com/michaelbates, also soon released on iTunes, Spotify, Amazon etc. Hope you like. Thanks! https://www.youtube.com/watch?v=Zyh0E8JI-yw
  16. Lately we talked about destruction of music, etc... Well, I did this piece.
  17. It is often said that Brahms was a master of the piano trio. What makes him masterful? Do you have any tips for writing a piano trio? How should I use the different instruments?
  18. It was by the end of 2012 when I began experimenting with different writing styles. I guess this was the first among those (finished) pieces. This was written on June 24, 2013. And since this composition, my composing style was largely unchanged to date, so I'd be really happy to hear your thoughts 😊 P.S. About the C.11 in the title... it stands for compo11, where compo# is a codename for my series of compositions when I began to get serious in composing on December 2012 . In short, this was the 11th of my compo series. Hope you enjoy it! 😁
  19. Another re-post I wrote this one on December 11, 2012. This was my attempt on multiple modulations in a piece (and I hope I did it right lol). And oh, a little trivia on this one: only 2 years after I wrote this piece that I actually learned what modulation is 😂 Comments are very very welcome, especially because I want to learn more about modulations 😊 Hope you like it!
  20. Another re-post It was late 2010 - early 2011 when I became obsessed with Liszt's works, and so my later compositions had a bit of inspiration from his composition style. I had a few pieces where I attempted to incorporate a few Liszt-like motifs, although frankly I'm not entirely sure of what I am doing 😂. Anyway, this one here was a piano arrangement of a song that I used to sing in school during my elementary days. This was written on February 6, 2012. It was only in my college years when I realized the title may have confused a few people because they said the song they knew of the same/similar title had a melody that was very different from what I used here. But I'm quite certain that this is the title of the song that I know haha! My Toes, My Knees was my very first attempt to make a piano arrangement of a song, well actually this is more of a variations kind of piece (I'm actually not sure what to call it. If you guys know it, I'd really appreciate if you tell me hehe). And while I edited this piece on 2015, I decided to simply upload and share with you the original, untouched 2012 version because, well, this is a re-post after all 😊 Hope you enjoy it!
  21. On the far side of the village is the Quaggi – The Singing House. Only men may enter; it is where they go to pray. In times of plenty, the men sing hearty songs of gratitude to the various gods of the Arctic. In times of desperation, they fall into a trance of smoke and dark and sweat and hunger. Arms linked, stomping the holy ground, repeating of the same syllables, the great hunters of the village reach for the gods with outstretched arms. What does a 10 year old boy imagine of this place? Banned from entering, just like the women, but knowing in his heart, unlike the women, that one day he will be granted entry into the inner sanctum, a young boy of the village can only guess what goes on inside that large tent. He hears from a friend that the sorcerer sings his magic songs and calls upon the Spirit of the Reindeer, and his songs make the wind blow and the ice crack to reveal the seal below. Anxiety and yearning and fear wiggle through his body. One day he would take his place in the Quaggi and learn the secrets of the hunters. But at fourteen an Inuit feels himself a man, and Kotuko was tired of making snares for wild-fowl and kit-foxes, and most tired of all of helping the women to chew seal-and deer-skins (that supples them as nothing else can) the long day through, while the men were out hunting. He wanted to go into the quaggi, the Singing–House, when the hunters gathered there for their mysteries, and the angekok, the sorcerer, frightened them into the most delightful fits after the lamps were put out, and you could hear the Spirit of the Reindeer stamping on the roof; and when a spear was thrust out into the open black night it came back covered with hot blood. For more on this piece, please visit: https://www.senigaglia.com/tag/quiquern/
  22. A fourth nocturne. This is the first time that I have tried to compose a dark piece. Not sure if it is decent or not. Feedback is of course appreciated thanks.
  23. Sorry if I am uploading too many pieces at a time. Let me know if I should stop. I was thinking of a misty view when writing this. Hopefully that suits the piece. The main theme doesn't really change that much so that may be a problem that needs sorted, but I'm not sure.
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