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Found 57 results

  1. Hi all, this is my second Quartertone study, which I wrote in 2013, in my first semester at the Vienna University of music and performng arts. Looking forward to your feedback.
  2. I don't really know what happened here, but I don't hate it. Let me know what you think!
  3. Hello, I'm new to this site. I only got into music about 3 years ago (I'm 19 now) and I need help because this is my first composition. So I understand most musical jargon, but I'm wanting to study Composition next year at a Music Conservatorium. Constructive feedback would be awesome! I know the piece isn't perfect which is why I need help!
  4. I'd been thinking about doing a reduced version of a very old piece of mine, "The Oort Cloud," for a long time. I believe it was the first piece I posted here three/four years ago (which I've since deleted). It was interesting to go back through the "orchestral score" and see how much I've learned since then, and it was a challenge to keep it interesting with the limited instrumentation (not to mention the total absence of a second theme). I tried my best to use some minimalist techniques [subtle changing of rhythms and intense repetition, which is pretty much my entire knowledge of the genre ] and some more contemporary tonal and harmonic language than what I usually go for. Since this isn't really my wheelhouse, I'm happy to hear any thoughts, suggestions, criticism, etc. Thanks for listening! EDIT: Also, for those that may be confused by the title: the Oort Cloud is the outermost ring of gas, dust, and other interstellar debris that is theorized to circle around our sun at an extreme distance, even beyond the dwarf planets, asteroids and other (larger) objects of the Kuiper Belt.
  5. Written for a friend; I'm excited to be able to finally rehearse and perform it soon!
  6. Trio in B-flat for Viola, Violoncello, and Contrabass I. Allegro spiritoso II. Adagio e sostenuto III. Menuetto: Allegro IV. Allegretto Composed: February 22 - May 26, 2014 Style: Classical, circa 1790 Though conceived as a mere amusement, this work ended up being for me an intensive study on how to handle a group of low-register instruments effectively in a chamber ensemble. Works for this very unusual instrumentation are exceedingly rare, as one may imagine, probably because of the challenges I faced in writing my own piece. Achieving clarity in an ensemble with so much bass sonority was rather difficult, but I believe I achieved it to some degree. Fortunately the players for whom I was writing it made the job easier. This trio was originally written for myself, a friend (an excellent ‘cellist), and my ex-boyfriend (a fine bassist) to play just for fun. This is one of several chamber works featuring the contrabass that I wrote with my ex-boyfriend in mind, and I learnt a lot about the capabilities of the instrument from writing them (I had never been much interested in the contrabass in chamber ensembles before I met him, but listening to him practice difficult passage work I would never have thought possible on the instrument fascinated me, besides which, affection prompts us do things we wouldn’t otherwise have the inclination to do). Both of the other players are better technicians than I am, so I was able to write parts for them that were somewhat demanding. The viola part I wrote for myself was also challenging for me, but carefully within my skillset, so all the parts are fairly equal. Description: The first movement (Allegro spiritoso), in Sonata-Allegro form, opens with a bold, vigourous 4-measure theme for all the instruments in unison, sweetened by a more lyrical melody in the ‘cello before being repeated. A transitional section follows, featuring the contrabass in sweeping scales and arpeggios, which modulates to the dominant of the dominant key, C major; the second theme, somewhat unusually, begins in C, with the ‘cello and ‘bass harmonizing in 10ths, and makes its way to the dominant key of F a few measures later. After a short codetta, the exposition is repeated, with the main theme slightly altered here and there. The development treats snippets of the main theme contrapuntally before modulating back to the tonic key for recapitulation. The second movement (Adagio e sostenuto), in binary form, is in the subdominant key of E-flat, and begins with a simple but expressive theme, which gives way to a transitional section led by the ‘cello. A more rhapsodic second theme follows with the viola and ‘cello harmonizing in 3rds and 6ths, accompanied by the ‘bass. The A and B themes are repeated, all in the tonic key, and coda based on the A theme closes the movement. The third movement (Allegro) is a Menuetto based on a 5-note motive that is repeated and developed throughout the main section of the movement. The contrasting Trio section, in the movement’s dominant key of F, is based on a sprightly theme characterized by leaps of 5ths and 6ths up and down. The main section is then repeated (Da Capo). The fourth and final movement (Allegretto), in Rondo form, begins with a somewhat droll “A” theme, which is then developed during a transitional section. Just when one expects the “B” theme to enter, a short fugato on a new subject is introduced, which leads into the actual “B” theme in the dominant key of F - humourous, and characterized by accented syncopations and sudden changes of dynamic. After a brief codetta, the “A” theme returns abbreviated, followed by a lyrical “C” theme. The “A” theme returns again, followed by yet another short but different fugato on the same subject as before, and the “B” theme returns in the tonic key. A variation of the “A” theme returns a final time, and a humourous and spirited coda ends the movement. This work was premiered in July 2014 by the ensemble for which it was written, at a cojffeehouse in Wichita, Kansas (where I was living at the time) which often features live music of all sorts, and was warmly received by the audience of patrons sipping coffee or having breakfast. Alas, the nature of the venue precluded a live recording being made - there was a fair amount of background noise as beverages and food were being served. Inasmuch as I have heard this work performed effectively, and I know it works, I have few concerns, but I am open to suggestions, comments, and criticisms as always. Players’ and Audience Comments: The players enjoyed playing the piece, and when I suggested a performance as part of the ‘cellist’s regular solo set at the coffeehouse, all were in agreement. The bassist, himself a fine composer as well as a university music theory teacher, was somewhat critical of the ‘bass accompaniment of the second theme in the slow movement because it didn’t seem like a characteristic period bass line, but that was the only criticism I received. The audience members made few comments other than to congratulate me. To my surprise, no one seemed even vaguely bemused by my choice of instrumentation, which I took as further evidence that I had made it work effectively. I did receive one criticism from a friend who frankly told me he hated the piece, saying that it was devoid of any treble sonorities and far too dark to be pleasant, but his was the only such comment. I hope you enjoy this rather unusual work! Cheers!
  7. Hello everyone, I'm new to this site, but it looks like a good place to get some feedback. Please take a listen to the attached piece for string quartet and let me know what you think!
  8. 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.
  9. Here's an older work of mine that I'm thinking of writing a sequel to. I would be interested in folks' opinions about what works and what doesn't. The basic "story", such as it is, is that the three instruments are three separate characters who are constantly taunting each other. It finally gets to be too much for the piano, who slowly loses it over the course of the piece. Thanks!
  10. As a result of the request from @danishali903 to compose some music for solo viola, I have composed this ''Melody for Viola'' (Opus 26) today. See for the post under Community > Repetoire > CALL FOR SOLO VIOLA MUSIC Bach's cello suites have heavily inspired me, as you can probably hear. I have never written for a solo string instrument before, so I hope that it is technically playable. If not, please tell me what and how to improve it. To Danishali: Hopefully, this piece is suitable for your playing in the hospital. I wish you good luck and a lot of fun! Feedback and sharing your opinions would make me very happy! Kind regards, Maarten Bauer
  11. Hello All! As some of you might know, I'm a violist/violinist. Recently, I've begun volunteering at a local hospital, where I play my instrument for patients and their families as part of the hospital's Arts and Healing program (it's really nifty!) Anywho, I try to alternate between taking my violin and viola to the hospital. If you're a string player, you know that the violin has a LOT (and I mean LOT) more pieces in the solo repertoire compared to the viola. And frankly, I'm tired of playing the same stuff over and over again on my viola. SOOO, I'm asking you all, if anyone is interested, to write music for solo viola so I can play some stuff! I would prefer something that doesn't require a piano accompaniment, but its not a hard and fast rule. I'm also open to arrangements of other pieces, or transcriptions of other pieces for other instruments (with the holiday season in full swing, Xmas music would be really nice too). Technically, don't make it so difficult as I won't have much time to prepare (I'd be literally sight-reading most of the time)...think of the Bach Cello Suites for Viola (particularly the first 3). And nothing to avant-garde....it IS for a hospital setting. As an incentive (and a thank you), I'll record the piece for you and send it to you! Let me know if you guys have any questions, and thanks for reading this!
  12. Hi, I'm new here and this is my first post! I was wondering what people thought of this thing I wrote a couple of months back, having joined this morning. I haven't been able to get any feedback from my music teacher at school (I'm in year 8, or, in the US, 7th grade) and want to know how I can improve it. Although I've had lessons in flute, recorder and, currently, bassoon, I don't have any training in composition, and think that the constructive criticism here would help me improve as a composer drastically. It's based on looking back at the past with joy and sadness, and the bittersweet feeling that causes. The louder bit is supposed to be a rush of memories and the emotions they bring. Thanks!
  13. Guest

    Opus 22

    Very random thing I made recently, not knowing what's going on actually... I strived for something between instrumental and ambient/free form. I used very low piano keys on purpose, just to make it clear - restricting yourself to only middle range makes everything too crowded and not very imaginative. Plus, I love low pitches, so deal with it! I'm extremely worried about the transitions between different musical ideas. A casual track for sipping warm tea in a cold, snowy day, I guess. Thank you for listening!
  14. The first movement to a planned suite for solo viola. I had in mind @danishali903's call for solo viola pieces, but for a while couldn't quite come up with anything that I was satisfied with. However the other day I was improvising started to come up with this piece. Then next day I wrote it down and gave it a few finishing touches and here we are. I'm pretty happy with how it came out, likely because I wrote this one while playing it so that I made full use of the instrument. It's inspired largely by pieces such as Vieuxtemps' viola capriccio (coincidentally my piece is in C minor as well), and Reger's viola suites. Since this piece is for solo viola and is highly expressive I decided to record it myself. It's not perfect, but I couldn't spend the same amount of time on it I spend on my performance pieces unfortunately. Hope you enjoy.
  15. This is my 6th soliloquy for viola. I got inspired to compose it after reading of a call for solo viola pieces. I listened to some viola solos, including my own 5th soliloquy, to see if I would be inspired with anything. And sure enough, I was suddenly inspired and quickly wrote down the start of this short soliloquy and completed it in one sitting. Here is the link to my 5th soliloquy for viola: http://www.youngcomposers.com/t33870/soliloquy-for-viola-no-5/
  16. So, @danishali903 called for solo viola pieces. Here are my 2 cents. I really hope the double-stops in the second piece are not uncomfortable to play :D In fact, all those legatures of the second piece can be ignored and substituted by whatever you think is more idiomatic and executable.
  17. This is a work for solo viola in the classical (or maybe Late Baroque/Mannerist?) idiom responding to @danishali903 's request for original solo viola music. It was (kind of obviously) inspired by Bach's famous Prelude to the Cello Suite No. 1. The chord progression and 'melody' are based on the first movement of a piece that I uploaded to the old version of the site, "Three Simple Songs" for violin with guitar accompaniment (I think this has now been lost). Generally, I think the tone of the piece is pretty suitable for a hospital floor. I watched the bowings for Bach's Prelude and it made me feel pretty confident that there should be no slurs in this one, but I wonder if it wouldn't get tiring to hack away at a viola for nearly five minutes straight. I'll defer to better judgments on this and other aspects of difficulty/plausibility. One final thing: the 9/8 time signature had me a bit confused about how to mark the tempo. Right now, it's marked "Moderato" because the dotted quarter notes come at about 100 BPM. However, it feels more like an Allegro or even Vivace tempo, and when I put it through my sound library, it automatically marked it as 150 BPM in (non-dotted) quarter notes. Which way is correct? Sorry for the book. Thanks for listening!
  18. Title: The Narcissistic King of Latharus Description: A king who comes as an embodiment of oppression, sadness, terror, fear and knows his kingdom shall rise against him. Minor chords: Used to express the sadistic nature of the king. Major chords: Used to express the fight for justice in which the oppressed will reign. Low Points: Created for the listeners to feel the king as he ponders menacingly. To express the death toll set upon those who are weak and under his leadership. High Points: Created for the listeners to feel the initiative of an attempt at revolution. In conclusion: I...don't know how to use the violin so I had to click in the notes. I have the viola playing the same notes as the violin section because I'm not sure how they differ. The piano is a live recording however. Hopefully the ending was better?
  19. A short piece I put together for viola and piano. I started with the theme I had at the begging and then developed it as I had ideas on what would be fun/interesting. I do like some of the ideas and may expand upon it, but I do like it as it is, a short showpiece of sorts with lots of variation in dynamic and tempo. Please excuse the failure's of my program's audio rendering regarding certain things. I am still very inexperienced at composing for the piano though, so advice especially in regards to that is much appreciated. Sonatina_for_Viola_and_Piano.pdf Sonata_for_Viola_and_Piano.mp3
  20. Hey! This is my piece called Screw the Violin! for 2 Violas, 2 Cellos, Double Bass, Marimba and Percussion! It has lots of Metal/Djent idioms splattered around! You can listen to it in the soundcloud link! Hope you enjoy!
  21. This was my final composition project for last year! The 7(/4) time signature was chosen from the beginning; being the number of days in the week it is meant to symbolise the repetitiveness of life during boring times, when every day feels the same: we feel trapped in the same dream -- everyday. No sadness, no happiness. Just a dream. We feel trapped, we try to escape, we get increasingly desperate... But in the end we all fall back down into our prison. The audio was recorded live -- I am the pianist; the performance was ill-rehearsed (we had very little time) and the higher-quality camera/micro ran out of storage mid recording so I had to upload the low-quality one :P Anyway, please don't get mad at anything different from the score or any mistakes or fumblings (there are many ). Any feedback welcome!! PS: the slurs were meant as phrase markings, not bow slurs. Violin and viola - Richard Tomes & David Wyn Lloyd, teachers at the Academia de Música de São João da Madeira, Aveiro, Portugal.
  22. Finally made some real progress on my first "real" quartet. I just finished the first movement of a planned 3 or 4, and figured I would get some feedback. I usually like to share the story behind my pieces, so here's the story to this one: Back when I was just starting to get interested in serious composition, I was looking for good ideas. At the time I took brief trip to New York City, and decided I would write a quartet trying to depict the city (in no small part inspired by the fact that I was at the time working on Dvorak's American Quartet with my group). The initial rhythm in the viola and cello (used to depict the train) I came up with then. I tried to write it out (I finished it about six months ago), but due to my inexperience with composition the piece developed very differently from what I had planned, ultimately being a nice piece that I'm still proud of, but still a fairly simplistic single movement piece. Finally I am returning to this idea, more experienced than before, and I'm pretty satisfied with how it's progressing so far. Hope you enjoy!
  23. This is my second piece I'm posting here. I started working on it when I was at a bit of a writer's block with regards to my quintet piece, then took a short break from it to finish my quintet off, and then finally finished it off a little under a month ago. This one is much more melodic and structured compared to my previous composition, and I tried to focus on having it be less complex and rather more beautiful and open to interpretation/expressiveness. The idea in my head while writing this piece was, as cliche as it is, love. Movement 1 represents a blossoming love, Movement 2 represents these two as happy newlyweds (still excited with the freshness of their relationship), and Movement 3 represents the same couple much older and wiser, but still happy and loving. Hope you enjoy!
  24. A re-upload of one of my most recently completed works, a short lied with a viola substituting for a singer. Let me know what you think.
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