Search the Community

1. Adagio Molto Moto: This movement explores the relationship between our mechanical world and our own expressiveness as a species. 2. Contemplatively Pious: This movement is a self-meditation for the listener. An opportunity to breath after the soundmass of the first movement and consider the world within which we live. 3. Savagely, Allegro Vivace: This movement is a savage, almost warlike movement that finishes the work.

I really put my soul into this one. Do not be shy to give me constructive suggestions. I really appreciate them 🙂

Hi, I've composed a sketch of a mazurka, it's in progress at the moment, so please let me know if the harmony or melody could be improved. What do you think of the orchestration of solo piano? Attached are the pdf and midi files. Thank you, DoYourDailyDuo Mazurka.mid

After a long hiatus, I started writing a little piano sonata as a gift for a dear friend. The piece is partly modeled after some sonatas Haydn wrote in his early years, presumable for his students. I wanted to write something that I can play myself with my rather limited skills, so it's not too complicated. Still, the attached MP3s are computer-generated. Also, I have yet to add the dynamics I use to the score. All three movements have a rising triad as characteristic motive, the slow second movement in a more drawn-out fort than the other ones. The Adagio features a strong walking bass line which is rather atypical for the overall style, but gives the movement a strong momentum. The Menuetto is rather simple to increase the contrast with the Trio that features suspensions etc., and should provide a joyous end.

Hello, My brand new piece of music. What do you think?

As a violinist, I've always felt today's musical landscape is missing something with the general absence of any modern violinist-composers along the lines of Paganini, Wieniawski, Sarasate, and so on to contribute new and exciting pieces to the repertoire. But since I'm both a violinist and a composer, I figure I might as well throw my hat in the ring and try to fix that. I've written four pieces by now, though I'd only ever performed two -- until recently, when I got to premiere the third. I composed this piece back in 2020, shortly before the entire world shut down. But recently I finally found a good opportunity to perform it, so I gave the "world premiere" on November 9, 2022. Unfortunately it was not recorded except on a phone at the back of the hall, and the massive echo made it sound pretty muddy. So I got a recording session in today in order to get higher-quality audio. Here's the end result: https://www.youtube.com/watch?v=WghXNdOc-VY The indication "harm." in the part is not me being too lazy to make diamond noteheads -- it is the notation used by violinist Roman Kim (one of my biggest inspirations and another torch-bearer of modern violin composition) to indicate the use of the forced harmonics technique he invented. It sounds one octave higher than written, is fingered exactly as written, and always lasts until the following "ord." mark. They appear at timestamps 2:15 and 3:56. While exceptionally challenging to master, they unlock some sounds that would otherwise be impossible to produce, so I think it would be interesting if the technique could become more widely learnt and incorporated into more modern violin writing.

December 24th 1914, Wordl War I. Near Ypres (Belgium), the German army began decorating the trenches and sang Silent Night in German (Stille Nacht). Soon the English army answered singing it in English. After a silence, they began to shout and congratulate one another. The Christmas truce took place, and they shared gifts and hugs. There were no gunshots that night. The fallen soldiers were remembered in an improvised ceremony, reading Psalm 23. I friend of mine and I wrote this little piece for two pianos a few years ago. We live very far from each other and we did it "online". These days of war brought this work to my mind.

First of all, hi! I'm new to this forum and I already forgot how I got here, but glad to be nonetheless! I tried to upload my two sonatas for piano in that software but the page gives me a 404 or takes forever to upload, sorry. I will upload the pdfs & mp3 files (computer tries, I am not good enough to play my own pieces sadly). Hope you find them decent enough, they are finished so I doubt I'll change anything but I am constantly trying to get some time and compose, thus any feedback will be appreciated for my future works whatever they be. For reference, they are my 42nd and 47th "minor works" (I label them like that when there are less than ~10 instruments). Some text is in spanish but it's not important in order to play the piece most of the times. I blame myself for the lack of digitation, as I do think some parts would need it. Without further ado, I leave you with them! Oh, and if anyone is eager to try it please let me know, I would love to hear a real person playing those. Kind regards, Daniel–Ømicrón. Sonata No. 1: First movement: Allegretto S1P,-01.mp3 Second movement: Moderato Spaventoso - Largo S1P,-02.mp3 Third Movement: Lento Maestoso S1P,-03.mp3 Sonata Nº2: First movement: Adagio S2 (P.)-01.mp3 Second movement: Moderato Bellicoso S2 (P.)-02.mp3 Third movement: Moderato S2 (P.)-03.mp3 Fourth movement: Grave S2 (P.)-04.mp3

Hi again :B. I was curious about that software some youtubers use for their LED piano recordings blah blah blah, so I found a free software "Piano VFX" that seemed cool. Eventually I decided to publish one nocturne a week on youtube using it. But here we talk about pieces so let me present my first nocturne, composed a while ago this year. I tried to make it easy enough to be played by myself and some friends of mine but I never had time to (not yet at least). I will warn you that I called it a "Nocturne" only because I composed it at night, so It may have little or zero resemblance to other nocturnes you know. That statement has become more and more true as I've kept making them, to the point the Nº20 is a monstrosity but we'll eventually get to that hopefully. Without further ado, I'll leave the video right here. You can find the PDF here: Free sheet music : Rodríguez, Daniel-Omicrón - Obra Menor Nº48 - Nocturno Nº1 (Piano solo) (free-scores.com) As always I'm eager to receive your feedback, views, analysis, greetings, whatever. Enjoy and have a good Sunday. Kind regards, Daniel–Ømicrón.

Hi again, guys. This is probably not the right time to post anything since the competition is going on and I see many interesting submissions being posted, but I don't want to forget it again for another week. I wanted to share my fourth nocturne with you —finished on February 28th, 2022 if I'm not mistaken— just to maintain an order in those pieces and despite I have finished the last one of the entire set (23) today. Here's the video as usual: And here is the score, for those who like me prefer to read while listening: 51 - Nocturno Nº4.pdf I prefer not to say much about the nocturne itself and let you judge everything... As always, any kind of feedback, be it short, long, specific, ambiguous, etc. is very appreciated. Hope you find it decent at the least. Just for the record, and in case you are interested, I am leaving links to the previous thre...two nocturnes I posted here. The YT link to the Nº2 will suffice I believe: • Nº1 • Nº2 • Nº3 • That's all for now. Thank you in advance guys. Kind regards, Daniel–Ømicrón.

Here's a big piece for ya'll. I think this is the first Theme and Variations that I have ever finished, so that's something. I was so addicted to this theme that I decided to make variations out of it. Anyways, there are 25 Variations, and it's 30 minutes long. Yes, it's that big. It was a challenge to compose this piece because I didn't know how big it could get, and pacing the different variations between the loud, fast, and slow was also tough. But the most frustrating of all was, of course, creating the score. It was painful!! Took me 3 weeks!!! Arghhhh I hope you have time to listen to this one but if you don't, I understand. Put a lot of effort into this one and I feel like I need a break lol. Hope you guys enjoy the piece!

Hi there. I'm a new user to the forum. Thanks for having me. Here's a nocturne I wrote earlier in the spring. There's a scorefol.io link as well as a YouTube link. Cheers! https://beta.scorefol.io/w/5DO85q8czo7lzAXOSZDZ Fog Nocturne [score].pdf

I've decided to do something completely different than my normal thing. I've never enjoyed 12-tone serialism, but I decided to give it a little try. I don't follow the rules entirely, because I wanted to create something that uses it, but still sounds accessible and not like overly-academic wankery. The concept of the piece is a musical setting of the final stages of the Voyager I space probe leaving our solar system. It will be made up of 5 "Movements" with little or no separation between. The flute is the probe while the piano is the sun and it's solar wind, particles, etc. early in the piece and other stars in the final movement. Since the probe is a non-living thing, I decided to go with a more robotic sound created using a 12 tone row (divided into four triads) and some of its' inversions. Again, to make it more listener-friendly, and frankly because I wanted to, I didn't stick to any real rules or conventions here. In the first movement "Termination Shock", Voyager I goes through the point in the heliosphere where the solar wind slows down to subsonic speed (as demonstrated by the slowing tempo) while the temperature rises a bit (warmer sounds from the "sun"). The movement starts with just the "sun" before "Voyager I" powers back up to send its' message home. I will post the other movements as I finish them...

Another classico romantic piano piece with some modern and even baroque elements. I used the La folia progression in the 2nd section and wrote variations on it. The main theme returns in the end but in the relative minor and ends in tragedy. Hope you enjoy!

I'm writing my fourth piano sonata and I have the exposition, but I don't know what to do in the development. I've been thinking about just doing the second theme in minor and then chromatically and dramatically transitioning back to the first theme, but I feel I could do more. Any ideas or suggestions would be great. Thanks. Piano_Sonata_no._4.mp3

It's been awhile since I've posted anything to the forum, let alone really been active. Life is like that sometime. This work was born out of my own quarantine after being tested positive for Covid-19. While not exactly the main influence over the work -I'm sure it adds a little to it. The 3rd movement is close to how I envision it. I'm working on a revision to make it sound more coherent and complete. I'm not too excited about the ending -I think the material can be expanded some more. Just got to find the right way to do it. I present you my 4th Piano Sonata. Hope you enjoy!

Created extemporaneously in about 30 minutes during the Christmas season, 2021. Yes, I have been away for a while. Here I attempted to create moments of subtle and not so subtle beauty. I succeeded. Give it 30 seconds or so to get started.

Edom is a place mentioned in the Bible, which means red or red city.

It has been awhile since I posted anything, so I thought I post this little piece here. Although I completed the piece back in January, I haven't made any of the score yet, until now. Also, this is the first piece that I wrote for piano and clarinet. I think it turned out nice. Let me know what you think! PS: the detuning throughout the piece is just for an aesthetic purposes, it kinda gives like a distant memory/nostalgia feel to it, i guess. Update 1.2 After a long time stalling, I finally revised the piece according to some feedback that I've received. Here are the changes: Changed a little bit of the cadenza and changed the clarinet to an A clarinet. Revised the score to match the changed version. Updated the recording to match the revised version. Thank you once again for the feedback!

This is a brief, fast-paced piece for the cello and piano. I'm haven't written much in the way of chamber music, but let me know what you guys think!

There is a long tradition in this country of mine (Spain) of writing pieces for the piano "thinking" in the guitar. Most of them are related to the genre of flamenco, or pre-flamenco (because it was fully developed in the 19th century). We can find pieces of this kind in teh Baroque period (Soler: Fandango, Scarlatti: Fandango). But it is more characteristic in the romantic-nationalism period. The most famous piece is Asturias by Albéniz (which many people think it was written for the guitar, but it wasn't). But also Lecuona, Granados, Turina You can take a look at this pieces here: https://komptools.blogspot.com/2022/07/obras-para-piano-que-se-pensaron-para.html Having this all in mind, I took an idea from some months ago and wrote this simple piece Please, note that the andalusian cadence (Am-G-F-E or similar) is not in A minor, and it's not phrygian (nor dominant phrygian). It's just the analusian cadence, a mode by itself.

Hello again 🙂 This is another piece I wrote for the piano, a nocturne. It has multiple sections and a repeating main theme. I would be happy to have your opinions of it if you have any, I may send it to someone and would like to know what you think. The part I'm most worried about is the transition at bars 23-24, I'm not so sure about it. Unfortunately, the audio is software generated, I haven't had the time to play the piece with all the modifications I made. Thanks : ) François

Hello everybody, I recently started composing some pieces of piano music, the first of which I published on youtube. Being still inexperienced, even though I have been playing the piano for 8/9 years, I wanted to know what you think of the piece, and how I could improve my future compositions. The video is linked below: https://youtu.be/kvqKD72_bvk Appreciate your help

For Good Friday. SAB and cello, or one hand of piano or organ if you don't have a cellist. Choirs always have a harder time finding tenors and basses than female singers, and the problem is worse right now, when so many older singers left due to the pandemic and haven't returned yet. So I thought I would write something with a baritone part that sits right in the middle of the male range. An actual baritone will have a few lovely notes on either side of the range that this is written, but this particular piece can be sung by a tenor without going too low, and also isn't too high for a bass. So whoever you happen to have in your choir, this should be performable, and in normal times, when the tenors and basses together are generally still pretty few in numbers, you'll get a nice balanced sound against the sops and altos. Any thoughts on my cello slurring, cellists? I played violin off and on, but I would love the take of current string players. John 3:16 For God so loved the world, that he gave his only begotten Son, that whosoever believeth in him should not perish, but have everlasting life.

13th PIANO COMPOSITION COMPETITION FIDELIO 2022 VIA THE INTERNET (Divided into musical styles) NEW THIS YEAR: The organization has decided this year for the first time the following change in the voting system: The results of the first, second and third round will be decided by the participants, on the other hand the results of the semifinal and final rounds will be decided by the participants and also by an external jury of renowned composers. Entering this competition is very simple, all you have to do is to record your own piano solo composition and send the audio file to one of the following email addresses: concursofidelio@gmail.com You don't need to submit the score, just the audio file. In this competition you are both a competitor and judge, choosing the winner by voting at home for the best work. All the voting results are sent to you via email so that you can check both, the votes given and received by everyone.. During the voting process the contestants also receive comments on their works. Very important: The composition submitted cannot last more than four minutes. Only the entrants vote to choose the winners. Prizes: 3600 euros and more divided into four categories. Entry fee: 20 euros per one composition submitted. (maximum allowed per category: 5 compositions) 15 euros each submission for two or more compositions If you have participated previously, this year you can take advantage of the following: Paying one work you can submit two works Paying two works you can submit three works Paying three works you can submit four or five works. You can participate with your name or pseudonym. You must be the author of the composition submitted. The competition is divided into four styles or categories so that you compete against works of similar style: Tonal, Classical, Romantic Jazz, Impressionist, Ragtime Minimalist, Experimental, New Age Atonal, Contemporary (Some Tonal parts are allowed) No matter how far you are. This Competition is via the Internet. Pianists from more than 30 countries join this competition every year. You participate from your house. ENTRIES DEADLINE BEFORE STARTING TO VOTE: June the 25th 2022 Click on the following link to register in case you are interested. You can also listen to the past year's winning works: https://concursodecomposicionparapianofidelio.com/# With best wishes Antonio Ruiz Asumendi (organizer) Taller de Músicos y Artes Plásticas, Centro Integral de Música y Artes S.L de Madrid Fidelio edit.