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  1. I would like to share with you my new composition. It was exceptionally painful and frustrating to finish, but I hope that those emotions added a bit of an artistic and melancholic spice to this silly little piece. Enjoy and thank you for listening.
  2. some random stuff i wrote the other day...hope you enjoy
  3. Instructor: @MonarcheonStudents Allowing: 7Initial Writing Requirement: As many bars as it takes to fit at least 7/14 techniques. Solo cello. Initial Writing Requirement Deadline: May 23rd Pretty simple class. Write a piece that incorporates at least 7 of these, but make sure that the cello still plays normal notes too, so that the extended techniques can be jarring and inventive. Also keep in mind that it will occasionally be difficult to switch between techniques very quickly, for example going from 3rd method to scordatura will be difficult to execute in a quick change. Keep this in mind when transitioning between sections. I will personally record all the submissions that best and most logically use the instrument's capabilities within the piece. Instrument Family Technique Name How It's Performed How to Notate String 2nd Method Turn the instrument on the side (for higher strings), bow the side of the bridge (harder for cello, but can do). Write by using an X notehead in the middle line of the staff. Label "2nd". String 3rd Method Bow the string beyond the bridge. Write by using an X on the line where the open string would be. Label "3rd". String Col legno Tap the bow's wood on the strings. Mark normal notes, and mark "col legno". String Tap/Hit Tap on the instrument in a designated location. However you want, but be logical. Be sure to label to tap, and also where to tap/hit. String Vibrato Markings Specfy the vibrato players use. I use (v+), (v-), and (v.) to mark with vib, without vib, and with slow vib, respectively. String Scratch Tone Very harshly bow the string to where the pitch is indeterminate. Use a doubled bow marking (i.e. make a smaller down bow marking within a normal one, same with up.) String Voice/Sing Speak, sing, or whisper instead of play the instrument. Use X noteheads to mark a contour of the line if speaking, normal notes, if sing. Mark lyrics below, and mark for them to sing/speak. String "Death Tones" Play an indeterminately high pitch, sound better when gliss.'d to. Normally harmonic triangles are used. These sound better as tremelos. String Ponticello Bow near the bridge. Pairs well with tremelo. Mark normal notes with "pont." String Silent Fingerings String player plays the left hand without using the bow or pizz. Mark "+" and a line/bracket designating the area of where the technique is to be used. String Scordatura String player will detune their instrument. Can be done within the work too. Use words to label detuning and retuning if in the middle of the piece. Dictate the open strings if at the beginning. MAKE SURE THE TUNING IS NOT FAR AWAY FROM THE NORMAL STRING. String Artificial Harmonic Ground fundamental with lower finger, and harmonic up a fourth. 15ma Normal note to indicate the fundamental. Harmonic notation for the second note, a fourth above. String Snap pizz. Harshly pizz. the note so the string rebounds off fingerboard. Mark a pizz. section with the cello thumb symbol (circle with line coming out of it). String Buzzed pizz. Lightly touch string with fingernail when pizz.'ing. Mark a pizz. section with "buzz", commonly using a line or bracket, designating the section.
  4. This is a short work that I have prepared mainly to improve my notation for string instruments, including understanding slurs and bowings better. Any feedback would be very much appreciated. Thanks for listening!
  5. Guest

    The Ghost (Opus 23)

    Hello fellow composers! I'm leaving you with my newest composition - Th Ghost. It is written for piano, small string ensemble, synthesizers, and harp. I literally have no idea what I was thinking when I was writing this piece. I've never used that much dissonance or vague tonality. Partially I wanted to step back from the usual canon patterns that I tend to follow and do something unconventional. At least I've tried. It is a mostly thematic piece. I also had problems with mixing and changing dynamics/panning/EQ - I absolutely hate Logic standard pizzicato strings... Anyways, thank you for listening, and hope you enjoy this small piece just a little bit.
  6. Someone would kill me for this... I thinks it's playable, I've taken care about each string and intervals.
  7. Hello All! Very new to this site but in need of critique. Just started composing again and am extremely rusty, trying to get back into it. I just put together this composition and want some advice on articulation and voicing, and any other feedback anyone is willing to give. My idea for this piece is for it to be a part of a larger work. Thanks for listening and helping me out! Movement 2 in B Major.pdf Movement 2 in B Major.mp3
  8. Any tips on writing for strings? I am a woodwind player trying to compose an orchestral work? Any help would be much appreciated! Thank you!
  9. This is just an evolving theme I can't seem to get right, especially towards the end where the timpani comes in. I have just been fooling around with this for a while now and I'm lost haha it's a shame because I was really happy with the rest of it, although I would really like to replace the percussion with more classical style percussion as opposed to the hip hop kick high hat and snare already written.
  10. First post here so here goes nothing. This work is part of an ongoing project I have entitled "The Cosmos Suite". The project is meant to capture specific aspects of space, primarily seeking to answer the question "What does space sound like?" In this instance, the work seeks to capture the serene beauty as one drifts amongst the star throughout our universe and witnesses the natural beauty of it. The strings provide the backdrop of space and the stars while the horn and trumpet call to each from across the void. The work is scored for solo horn, solo Tpt, and chamber strings.
  11. This is my second attempt at a divertimento in the classical style. It's meant to be a light and enjoyable work for a small string ensemble (I tried to make it possible for either a quartet or a larger section). I'm primarily doing these divertimentos as exercises in improving my four-part writing. One of the unifying factors between the movements is a consistent emphasis on weak beats throughout the piece, although I may have gotten a bit carried away with this aspect. I also sneaked a few bVII chords in to a couple of the movements. Let me know what you think! Thanks for listening.
  12. Hi all, I'm learning a little bit more about the equipment I'm using and about "mastering" my sounds. I studied music education in school, not composition or music technology of mastering, so this is a first for me. Tips about what you hear? For example, I'm not sure what caused the clicks in the lower strings... Thanks! Gustav Johnson
  13. With this I used a lot of the new software I've purchased from 8dio, except the cinema trailer sound effects which were bought seperately. I'm still pretty new to all of this new software and sounds so this more experimental if anything. There are literally thousands of sounds with these new software bundles and the ones here are just a few out of the thousands of others. This makes me really excited about the possibilities. Simple chord progression etc. Hope it sounds ok...
  14. Here is a piece for seven-part string ensemble with soloists, and it is about the eponymous poem by Major McCrae that was written about World War I. Let me know what you think!
  15. A small prelude written for my English class - background music for a model based on the setting from A. Huxley's "Brave New World". In this composition, I tried to reproduce the cheap and ignorant, grotesque cheerfulness of Huxley's bizarre world of artificiality. Also, I thought that the concept of all-seeing eye would fit the dystopian nightmare. The pillar of this prelude is my loose improvisation in A major - one of the most happy and cheery keys, in my opinion. Thank you for listening!
  16. With this I tried to tell a story about a Duke that belongs to royalty who is very delusional and twisted. I tried to do something I don't normally do with instrumentation and I attempted to go for the film score level...
  17. Guest

    Nymph's Sleep (Opus 17)

    A small lullaby thing I did for my Music Production (high school) class. The only objective was to produce a piece that will be exactly 2 minutes (my exceeds 120 seconds, but only because of the delay and reverb - I had to leave two empty bars for the sound to go down). I also tried to experiment with the harmony. It's a bit flexible, balancing between C major/minor and G major/minor. I just wanted to get out of the frame of choosing one key and using it's parallel or relative key. On the other hand, I do not want to write atonal music. Nymph's Sleep is written for two harps, glockenspiel, small string section (violoncellos and bassess), flute and bassoon, celesta, and synthesizers (bell synthesizers with a lot of delay). There is no score for this composition yet. Thank you for listening and let me know whether it's harmonically bearable - I did not study harmony yet.
  18. Disclaimer: This is NOT my entry for the fall competition. I wrote this piece during my student days as an exercise. I was inspired by the Downton Abbey soundtrack and instrumentation, which consisted of piano and strings. I came up with an original theme and wrote 3 variations on it. I would appreciate any feedback and comments. Happy listening! PS: The audio is a little meh....but you'll get the general idea.
  19. Guest

    Sword in My Hand

    Sword in My Hand (Opus 16) was inspired by Celtic and Medieval folk music. It was a part of my music production class assignment asking for complete percussion tracks. It was challenging, since I'm completely not a rhythm oriented person, and I think that the rhythm section is the worst part of the composition. Among several other instruments, the piece is played by celtic harp, hammered dulcimer, tin whistle, recorder, lute, irish bouzouki, accordion and string section (violins, cellos and basses). It is written in E flat major with a short bridge in E flat minor. The composition is all midi; I'm not capable of finding a musician playing a harp to be able to record my music, and I only possess low piano skills. I'm also not pretty sure about the panning and reverb accuracy. There is no score for this composition. I personally think, that this is one of my worst works I've ever completed. Thank you for listening and any helpful hints or comments are very welcomed!
  20. This is a quick composition for a string orchestra.
  21. Hello Guys! I need help with this string quintet. I'm satisfied with the main theme at the beginning but I do not know how to continue the piece. As you can I see I have written two suggestions in the score, but I'm not really happy with any of them. The title is called "Child's play" because I was inspired by children playing in the schoolyard, and I want to keep the spirit for the song, that's why the sad part doesn't go well with the energy in the beginning. Oh, and I'm not sure what form to use, I was thinking "rondo". Thanks a lot for any help
  22. I'm not necessarily new to orchestra or symphonies but I'm no expert either. Thought I'll go for a dark/light theme. I finished this last night though the ending is abrupt. Not sure how well this is done. Need opinions or advice would be welcomed.
  23. A suspense action music I made for the walking dead attack scenes of my game, "Space Anomaly" where a rescue team is sent unto an orbital research compound when they received a distress call 48 hours ago. They then found no trace of the crew but found some blood stains in the floors and the walls. What they don't know is the crew was infected by an alien virus that came from the artifacts they obtained from planets, eventually turning them to walking dead. Accompanying videogame for the music: The music is orchestral, accompanied by electronic ambient effects and a subtle vocal choir.
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