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Showing results for tags 'piano'.
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The Etude-Tableau was written for the Moscow Conservatory's 2018 International Winter School, along with the Nocturne in C major, Op. 5, and the Romance in E major. This piece was the first piano piece I had written in over 2 years, and was also my first attempt at virtuoso piano writing. I brought it to the school as one of my piano performance pieces. I later recorded it at home, and this is the performance on Youtube. I hope you all enjoy it. 🙂 Theo
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I wrote this piece right after the Passacaglia, Op. 1, in 2015. It consists of the theme, 12 variations (one of which is a short "fugue"), and a coda. Similar to the Passacaglia, each variation flows from one right into the other. The theme was based on a short piece I wrote for an earlier composition assignment, and I wanted to expand it into a larger form. So, I turned it into a theme and variations. Here is my performance of it on Youtube: I hope you all enjoy it. 🙂 Theo -
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
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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.
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Lately we talked about destruction of music, etc... Well, I did this piece.
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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! 😁
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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!
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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!
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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/
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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.
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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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I use an electronic loop as an element to provide atmosphere although it's more chamber work than electronica. I've cranked up the piano click intentionally. If you are scratching your head after hearing this, 'that's different', or 'hmm', then I have succeeded.
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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
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I don't think this is really a nocturne, but I composed it with the night in mind. It doesn't really flow that well in my opinion, but not really sure how to fix that. Please do let me know where to improve, as I do think this piece does need to be changed.
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Used Sibelius 7 and my Oxygen 61 midi keyboard to make this today in less than 3 hours total. Pretty happy with it - thoughts? Especially of my harmonic motion at the end? That's what I'm least sold on currently. Thanks - happy Thursday! Gustav Johnson
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Hey guys. First post, wanted to drop this in here before I start officially (attempting) to contribute to the forum. I've been composing for a few years now; self-taught, with inspiration from composers like Debussy and Satie, even though it may not sound like it as much as I try to emulate portions of their music in mine. They have a sound that's kind of hard to pin down, especially considering my somewhat limited knowledge of theory and my incapability of writing anything longer than a simple theme. So the problem is that I don't have issues with writing out sections, but moreso that I have trouble connecting them, or structuring them in a way that doesn't sound... I guess in a way that doesn't sound too disjunct. The flow of the music, I suppose, is what I'm getting at. Or sometimes it all just blends together a little too much and begins to sound bland. It may just be me though. Any tips? Also, sorry for the sort of messy sheets, I don't really pay much attention to the layout of certain things while I'm writing.
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I started this piece with the intention of trying something new and composing something a bit out of my comfort zone, which so far it's doing just that. Obviously though, it's very unfinished and it has a lot of polishing to do. For example, there's a lot of random whole notes in this piece that are just there for the sake of building chords and the switch into the B section seems a tad abrupt, though I think I like it that way. I'm curious as to what you guys think, please be brutally honest! But keep in mind that I am not a pianist in the slightest! I normally only compose choral music and I know that some of this couldn't actually be played how it's written. Anyways, please voice your opinion on it so far and if you have any ideas as to how I can improve on it and/or how I should continue it, do let me know. Thanks! -
1º Bagatelle.mid 2º Bagatelle.mid 3º Bagatelle.mid
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I have composed a few nocturnes. This is my first one. It is very simple. Any advice for how to improve is of course appreciated.
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Here's a link to my piece: https://soundcloud.com/user-659082399-303084762/largo-ostinato I appreciate feedback. Technically what's happening: The piece is in 5/4, which gives space to the melodic lines, key of E flat, playing with G natural and flat. It starts with piano ostinato, adds a cello ostinato, successively adds 2 melodies and then combines the 2 melodies over the ostinatos. I created it using mixcraft pro studio 8 virtual instruments. Feedback on another website was to the effect that real strings on long notes have more dynamics. Do you agree or do you think the more flat, even strings works better?
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A year ago, I arranged the Divine Beast Vah Ruta battle theme from Zelda: Breath of the Wild for piano, by ear. This was my first major arrangement of a piece for piano. Here is the original: And here's my arrangement of the theme: And here's the score (yes, I know that some parts need to be moved around; this is not the final version of the sheet music): Copy of Zelda Breath of the Wild_ Divine Beast Vah Ruta.pdf I know the chords aren't exactly the same --- this was intentional, as I preferred certain chord progressions to the ones chosen by the original composer (like in measures 18-19). The feedback I've gotten so far is basically that the harmonies and arpeggios sound pleasant, but that it would be difficult (if not impossible) to play using two hands. I tried playing it on my keyboard, and yeah, I can attest to that. I'm also aware that the dynamics are kinda weird; I tried to do the best I could to get it to sound the way it sounded in my head. Does anyone have advice on how to make this more playable? Because I don't exactly want to get rid of any of the extra embellishments I added. Should I make it even more complex and make it for four hands, or remove parts to make it for two hands? -
I think this is a (proper) Fugue, but I would like confirmation, etc, fugue2?.mid
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This is a new song in conjunction to the my other one called After The End. After The End received honorable mentions in the nation music educators association electronic composition contest. Listen to this and tell me what you think. Follow me on Instagram @wind_player1 and on Facebook as Cj Rhen. Thank You Listen to Before The Dawn by Cj Rhen #np on #SoundCloud
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Hello Everyone, I have written a short piano piece, Romance today, for a lady I love. Any comments are welcomed! Thank you. HoYin
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Falling Stars.mp3This is my first dramatic composition I've been working on. What do you think?
