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So I started writing a third symphony, with the same instrumentation as the previous two. I remembered that I have a lot of unused material that I wrote years ago. Some of it is probably 5 years old or older at this point. I took two things that I wrote, and put them together to create what is intended to be the intro to Movement I. The originals, "composition" and "Symphony," are included below for reference (I imported the original MIDIs, and Musescore messed up the triplets). I took them and tried to improve upon them, including taking them out of the full orchestra zone and condensing them into the chamber orchestration. I wasn't comfortable with the full orchestra back then and I certainly am not now. Overall, the only thing I can say so far about it is that it is very repetitive. I guess that's just part of my style.

Small piano piece influenced by Puerto Rican rythm from the folk mountains mixed with an "classical" language.

"Free our Mind" is a track based on the song "Money Trees" by Kendrick Lamar

I am a beginner and have zero knowledge in music, i tried composing something using garageband software. Let me know what do you think of this piece of musical?

Balada 2.mp3 Balada 2_ Partitura completa.pdf

I had more ideas, so I put them together and created a second symphony. The instruments are the same as my first symphony: Vibraphone, Marimba, Crash Cymbals, Cabasa, Piano, Celesta, String Synthesizer, Jazz Guitar, and Acoustic Bass. I placed emphasis on establishing a melody and then having it reappear later. The piece lasts about 20 minutes, double the length of my first symphony, and was written in Musescore 2 using the Compifont soundfont. I worked on it for about a week and a half. Like my first one, the entire piece is of original composition, unless I somehow copied existing melodies without realizing it. Also like my first one, in the mp3, there are popping sounds that I believe are caused by an issue with Musescore and the guitars. The first movement starts off slow, and then becomes more upbeat as it goes on. The second movement is austere and jazzy. The third movement, like my first symphony, is pretty much the first movement backwards with a few changes and additions here and there. This symphony serves as a sister to my first symphony, but it tells a different story. I feel like it also turned out sounding like the soundtrack to a video game. Indeed, there are parts inspired by the music of the Mario Golf series (especially Advance Tour), composed by Motoi Sakuraba. Other parts are made up of musical ideas that I've actually had for years. For example, the sixteenth notes in the first movement at measure 49 were inspired by a musical idea that I came up with more than ten years ago. I was at an amusement park we have here in Pennsylvania called Hersheypark, and I was in line to ride the ferris wheel. The ferris wheel machinery had this sort of hum to it that sounded to me like the notes C and G, and it stuck with me all these years later until I finally used it in a musical piece. In the end, I decided to kind of have fun with the instrumentation, and not really pay attention to whether or not it could be performed by a real orchestra.

My entry for the Winter competition 2018! **If you get anxiety, this music is a little tense........ fair warning A piece in three movements inspired by three nuances of the emotion Fear: I - Rush, II - Dread, III - Phobia. All parts attached. My written notes regarding the questions for the competition are on the Composer's Notes page. I did include some extra bits because I got pretty thorough with this: CHANCE MUSIC TABLES.pdfThe Cue sheet is meant to guide the electronics and instruments in alignment and timing, the Chance Music Charts are in case anyone wants to see how I created my chance music. Any feedback and thoughts are welcome. Thanks all! Gustav Johnson

Just finished my new piano tune - tried to go for a more upbeat style this time. Would love to hear any thoughts/improvements. Thanks :)

Hi everyone, After receiving positive comments of my Piano Concerto Mov.1 , I have decided to write the proceeding movements of the concerto, which serves as a challenge to myself. I have long for writing a slow, romantic movement for a concerto and so, in contrast to the 1st Movement, the piano solo has more melodic parts here. How is the work so far? Is the string prologue too long? Btw, I am still trying hard to add woodwinds and brass as I am more familiar with strings, so I may add it later. Thank you for your comments:) Regards, HoYin

This is a short, jazzy melody that has actually been floating around in my head for quite a while, but I had to figure out how precisely to transport it from my head into Musescore. It's only about a minute long. I was thinking of incorporating it into the scherzo of my next symphony if I do one. I feel like you wouldn't normally find jazz in a symphony. It's on piano for now, but I would probably have different instruments playing it later on.

Hi producers and composers alike! "A Hero's Return" marks the tail end of Prisoner 8's journey. But is it truly the end as he hopes it will be?

True to the title, this is the first time I have really attempted to make a symphony. I'm not sure if it really is a symphony; if it is, it's a highly unusual one, but it does have about three movements including a scherzo. The instruments are, in no particular order (I didn't think to put them in concert order): Marimba, Acoustic Bass, Piano, Jazz Guitar, Vibraphone, Celesta, Strings, Cabasa, and Crash Cymbals. The piece lasts about 9 minutes and 40 seconds, and was written in Musescore 2 using the Compifont soundfont. I worked on it on and off for the past 2 weeks. The entire piece is of original composition, unless I somehow copied existing melodies without realizing it. In the mp3, there are popping sounds that I believe are caused by an issue with Musescore and the guitars. The first movement is on the slow side, and transitions into the second movement which is the scherzo. The scherzo ends without transitioning into the third movement. The third movement is more or less the first movement, but in reverse. I didn't know how I wanted the third movement to go, but I did know I wanted to see how everything sounded in reverse. I went to a website that reverses midi files. The website kind of messed up some of the lengths of the notes, but that sounded interesting to me. I took what sounded the best, added some more things, and made the third movement. I also drew a little logo on my phone to go along with it, since I also posted the piece on YouTube. https://www.youtube.com/watch?v=5cCfkm8Jsf0

Hello Dear Friends, I'm posting my new song and looking forward to hearing your comments. I call it snowfall as snow sometimes falls harshly sometimes falls smoothly. I hope you enjoy it. https://www.youtube.com/watch?v=Q-qx5moxB8g&feature=youtu.be

Hello Friends, I finished a new piece yesterday. I'd like to hear from you about it. Best regards Elara.mp3

Hi. This is my composition for A-level music and I was wondering if anyone could give me a predicted grade and give me any feedback on my work so that I can up my grade. Any feedback would be much appreciated.

My last piano miniature (Haze) was a little short, so I started another one intending on making a longer miniature, but then it turned into a full-blown piece. My tutor remarked that it felt very much like the first movement of a sonatina, and I've never attempted one for piano so I thought I would try. I'll start work on a middle slow movement next!

My second piano composition - just started getting into composing music as a hobby. Inspired by music from the Nier franchise - I tried to capture a similar intensity in this piece (especially when the minor section kicks in in the middle and further developed in the end). Would love to hear your thoughts/criticisms on what to improve etc. Thanks :)

This is a work I've been looking at on and off for a few months now. It began its life as the opening few bars in my head for a week until I wrote them down. I decided that I wanted to try and write a very light-hearted and maybe (hopefully) occasionally humorous piece, while still keeping it interesting and musically varied. It's quite clearly very 'Candide'-inspired, but I tried to take it in my own direction as well. I'm also using this piece for another subject at uni, where I have to write an essay about some aspect of critical practice, and I'm talking about humour in music in general, and what my approach has been towards composing this piece. I'm happy to share the essay once I finish it in a week or two, if anyone would be interested in it! There are still a few notation issues to work out before I can submit it as part of this year's composition portfolio for my degree, such as the pedal lines, but now that the music is basically complete I wanted to share it with people anyway. I've also got a soundcloud link if people prefer that player - https://soundcloud.com/fotytoo/serious-music-for-violin-and-piano/s-Howou.

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.

I've done another piano miniature - I'm still trying to do one every week or two. This one is pretty light and playful again.

This is my first time I completely write a experimental piano. It's not beautiful, hard to listen but when play it, I shivering, i think i can see some soul around me. i cant explain this feeling. Thank you for listening

Hello. As the title says, this is the first movement of my first Piano Sonata in B-flat Major. Although it is just the first movement, I consider it to be the first complete piece made by me. All feedback is welcome. Thank you in advance. And a simple analysis of it: The Exposition begins an Alberti bass in the key of B-flat minor, responsible for a contrast with the B-flat major melody. It is followed by the first subject (A1) from bar 3 to the beginning of bar 5. After a brief quarter-note pause, a variation of this subject makes a transition to the second subject (A2), which goes through bars 7-10 and then repeats itself from bar 11-13. It should be noted that there is a variation of it in bar 12, followed by a transition, as it is in the first subject. After the transition, the closing section is made of G’s interrupted by pauses and followed by an ascending sequence of A, B-flat and C. This small motif serves both as a transition to the transition (yes), and as a normal transition to the dominant. The transition (to the dominant) (bars 18-22) modulates firstly to C, then to E-flat Natural minor, to finally arrive in the parallel of the dominant key of F Minor. It should be noted that, the whole transition, which has 4 entire bars, is made entirely of a repeating sequence derived from the transition to the transition. Which shows the astonishingly amazing creativity of the composer*. In bar 24, we have our first dominant chord, followed by a descending sequence of notes, until we arrive in the third subject (B), which repeats itself. This third subject, in contrast to the other two, is not accompanied by an Alberti bass, but rather by chords, of which evokes a melancholic mood, another difference in it from the other two. It may sound rather generic for the avid listeners of film scores, of which the piano themes are always in this mood, but one should know that this comes from the composer’s heart and he has no intent of changing it for now. Immediately after the repetition of the third subject, the Development begins, still the dominant, with the returning of the Alberti bass in bar 31. The fourth subject (C), which is exclusive of the Development, modulates from F minor (parallel of the dominant) to an interchange between A minor and F minor, and creates variations of itself, while it keeps tightening until we arrive in an A minor V7 chord, of which ends the Development. In the Recapitulation, the Alberti bass comes back in B-flat minor, but this time in octaves (Bb2 and Bb3; F3 and F4, et cetera). Now both tonic subjects lose their flats, making them slightly different, not much to usual listener. The transition to the third subject is now made of two bars. The chords after it, including the descending sequence, are now without flats. The third subject, now in the tonic, loses most of its melancholic mood, and gains a more hopeful one. After it’s repetition, the Coda theme (bars 70-75) is made of a small motif from the third subject, which goes until the end, with a perfect cadence. *sarcasm.

10 minute sketch of the snowfall that happened here last night.

I'm witting a series of nocturnes, the first two:

I am writing music for our school. We are participating in the Grampian's Children's Book Awards and my group have asked me to write some music. This is just the first draft, any criticisms welcome!