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Found 119 results

  1. Hello, fellow composers! This is my first topic and first submission for a review of one of my compositions and I'm very excited to share this with you. I work with pen and paper, using a piano for the most part, and only in the later stages of each section of sketchwork do I continue refining the sketches through the Dorico interface. I usually expect to record this with professional musicians in some way or another, so I never spend any time fiddling with the digital performance of the work, to be honest. Because of this, the performance is decidedly robotic, but it still manages to give you an idea of the work as a whole, and I'm sure that your ear and imagination are good enough to be able to realise what it could sound like if it were performed by real, living musicians. (The audio attached is produced by Dorico running NotePerformer 3.) This work was recorded in January 2020 for Signum Classics with Kerenza Peacock (violin) and Huw Watkins (piano) at the Britten Studio in Snape Maltings. Sadly, I can't yet share the audios from that session, since the album will be released in March 2021 for the label's catalogue. Sonata for violin and piano in F major, R. 6 I. Adagio — Allegro assai II. Andante sostenuto III. Allegro con fuoco IV. Adagio ed intimo In my next posts I hope to share work with you that is still in progress so that any input from you will definitely have more weight than at this later stage in the work's life. Oh, I almost forgot! If you're interested in having a score to follow, or if I'm lucky enough that you'd like to perform this work in a recital or concert, please send me a message and I will happily oblige. Wishing you all the best, Rodrigo Ruiz
  2. https://flat.io/score/5ef0da584830d811e3e3737a-a-world-of-ecstasy
  3. This is a piece I wrote recently about a nervous auditioner (I think that’s the right word) in an audition for area or district band. It is supposed to be more on the theatrical side with some instruments representing people. There are four movements, each representing a part of the audition process. I will explain each one in depth:
  4. This is a piece I wrote last week. I have separated the ‘movements’ by one measure long rests, and I understand if that may seem a bit too long; I have made them shorter in my more recent pieces. The reason I named it “Try, Try Again” was because the second and fourth movements reminded me of someone making a mistake whereas the other movements sounded like someone achieving or succeeding. I also included a quote on the last page of the score that I felt went along with the title of the piece.
  5. The second movement of my piano concerto, I wrote it during the lockdown and I feel like it exemplifies my mood throughout. I'm particularly pleased with the brief piu mosso section. I wanted to upload it with note performer, although I currently don't have my finances in order. so I didn't, if I get it soon I'll re-upload it. Please let me know your thoughts, and I'm working on the final movement, as I'm not short on time.!
  6. Hi everyone! This is my first attempt at a string quartet. It is the first movement of a larger string quartet that I intend to make in D Minor. It would be nice if you could review it and leave some feedback. Thank you! (really sorry I only have the midi mockup, haven't got it performed yet) link: https://youtu.be/yVSecRZSyCg
  7. I recently finished this composition and am looking for more advice. Considering this is my third piece where I’ve written for Strings, i think I’m getting better with writing for them. I can’t think of a name for it though so please recommend any possible names or ideas for names!
  8. Below is my first attempt at a fugue written for two violins. as such it isn't a conventional fugue as there is voice swapping across the board and does not necessarily follow the conventional harmonic series as I didn't pay too much attention and wrote this in a couple hours. Enjoy.
  9. Hey one of my next projects is a 3 voiced Fugue for two violins. could someone give me a quick rundown on how effective double stopping is in violin writing. EG how easy or difficult it is to move scales in thirds fourth etc Great much appreciated.
  10. Hey, I’m new to this website but I figured it’d be a good idea to get advice from other composers since I’m almost entirely self taught with composing and I could always use advice. Anyway here’s one of my pieces. I use Finale and some of the dynamics may seem too quiet or loud for an actual player but I most likely wrote it like that for making it sound the most ‘realistic’ when Finale played it back.
  11. If you could spare the time to provide some feedback on this piece, it would be really helpful. Thanks, CharlesSonatina for Violin, Piano and Harp (Leadsheet).pdf
  12. My first piece for solo violin: a sonata-form Allegro. I hope you enjoy. I'd welcome any and all feedback, especially if there's areas that aren't very playable...
  13. jawoodruff

    Moments

    I was busy working on a project for Euphonium when I got the ideas for this piece. Over the last few days, a week really, I've added and changed stuff. The work slowly expanded from there. When I got the idea, I thought about doing a sonata based on it -but, as my composition advanced, I decided a one movement work would suffice. The form is pretty straightforward -so I won't bore you with the details. I can, however, say I'm happy with this draft of it. The language is very intimate and, I'm sure some would note, there's a sense of doom and resignation in the piece (largely due to my stressing over the coronavirus and it's potential impact on my family). But, in the end, the show must go on -and life itself will ultimately return to some sense of normalcy. At any rate, I hope you all enjoy this.
  14. I started composing this almost 6 months ago, but I didn't finished ,until now because I run "Dry" of ideas. I used an harmonic ostinato by circle of fifths that repeats during all the piece. I haven't decided the dynamics very well, and don't sure where to add some more slurs. First time composing for string quintet, and for strings in general, hope there are no parts impossible to play. I add 2 audios, one with strings sounds and other with just piano, because some details are hardly noticeable because of the sound I used and my poor mixing. Any feedback is apreciated :3
  15. I'm at a loss of words on how to describe this work. The idea behind it was a study in string textures -yet, it seems to have gone beyond that somewhat (at least to me). Compositionally, each section utilizes a descending motif -with various variations over it. It's definitely not minimalist in design as the changes aren't as subtle -and there is a fine demarcation between some of the textures. Hope you enjoy.
  16. jawoodruff

    Etude

    The idea behind the first part of this movement is the growth of material from one note to its full statement. The clarinet, trumpet, violin, vibraphone, and trombone all play there own material treated in this manner. Each statement introduces a new note to their material. The bassoon and bass provide a sonic backdrop to this unravelling. I plan on expanding on this idea in other works -this was a fun idea to work on. Hope you enjoy.
  17. I always wanted to write something for violin because is one of my favorite instruments allong with guitar and piano, so I decided to write a preludio and allegro (that was some time ago). But when I showed it to one friend of mine who is a violinist, she said that more than a prelude it feels like and etude because of the very high notes in measures 12,13,28,29,56 and 57. So, i would like a second, third etc opinion about that. For all the violinist out there, are those notes that hard to play, and how is the prelude overall?. Thanks in advance for all the comments :3.
  18. I started this quintet with the intention of entering this into a competition -so, I've been working pretty intently on it (to the point that it's all I think about). Here are the first 2 movements: 1. Andante: The first movement serves as a sort of introductory movement. The movement utilizes the short two bar theme presented in the opening (this theme also permeates large portions of the work as a whole). The theme is presented in all voices, leading to the establishment of a 'hopefully' hypnotic pattern -through which I play with the theme and introduce contrapuntal material. The structure is ABA'. 2. Allegro Con Fuoco: This is the movement so far that I've spent the most time on -and this is revision number 4. The opening two bars introduce an ostinato pattern that is taken up by ALL instruments within the quintet. This movement is meant to be faster than what I have set. I've slowed it down to give more attention to detail. 3. Adagio Semplice: To compliment the 2nd movement -and in stark contrast texturally- this movement is more of a mediation and prayer-like movement. The movement is slow and contemplative. At any rate, I'll post the final 2 movements once I've finished them. Hope you all enjoy these experiments.
  19. Hey everyone, Here is the piece I composed this semester for my composition lessons at university. It's about 18 minutes long, so if you only want to listen to and review a small portion, that's totally fine. This piece is still under revisions, so any feedback is welcome. Thanks! https://www.youtube.com/watch?v=C2Z780ZKZIY
  20. I was wondering if anyone can recommend some songs with violin/viola solos along with an orchestra?
  21. Hello all. I have recently remembered about this piece that I composed for a workshop back in June. The pieces were recorded at the end of it, and I can share it with you now. I decided to write for Piano Trio. The movement starts and ends in A major, but has sections in other keys. It is in a rough sonata form with two contrasting themes. The main idea has a seemingly random dotted rhythm, but it actually fits in a 5/4 beat shown at the end. The second theme also fits into the 5/4 section for its recapitulation. I am mostly happy with the recording, except for perhaps the final few bars. We only had one rehearsal before the performance and recording so I thin kwe did well. Any mistakes by the violin and cello are due to under rehearsal - any mistakes by the piano are due to me not practising enough beforehand! Hope you guys like it.
  22. The first (attempted) Symphony, written by the young composer, Drake King.
  23. It is often for composers to add chords in Violin repertoires to enrich the harmony and enhance the virtuosity. However, there are rules ought to be followed in composing to make the work playable. Here I would like to share some tips in chord writing for Violins. 1. Open String Chords It is important to know the 4 open strings of Violins: G, D, A, E. [Fig. 1a] Technically, it is almost always possible to play a chord with an open string and a note on neighbouring string(s). [Fig. 1b] 2. Substitutions It is possible to substitute a note, with its equivalent on a higher positions on a lower string, in order to avoid string crossing problems. For instance, in [Fig. 2a], the first chord is not playable if we choose to play the B note on the A string (A1, first position), as it will skip the D string. However, it is playable if we substitute A1 by D3 (3rd position), and now it is a chord with notes on 2 neighbouring strings, G and D. Such technique is particularly useful for 9th and 10th, which I will mention in latter sections. For the fourth chord, this time if we pick the A note as an open string note (A0), both notes will lay on the same string. Impossible. Therefore, to make it playable, we can either substitute A0 by D4 while keeping the A3, or substitute A3 by D(Anything) while keeping A0. 3. Common Practice for Intervals For 3rd's, we use 0-2, 1-3, 2-4 or 3-1 (or in the reversed order). [Fig. 3a] For (perfect) 5th's (or equivalently diminished 6th's), we use the same fingering for both notes. (i.e. 0-0, 1-1, ..., 4-4) [Fig. 3b] For 6th's, it is essentially a 5th with the upper note shifting higher. So the fingering is 0-1, 1-2, 2-3, 3-4. [Fig. 3c] For 8th's, the most common fingering is 0-3 (when it involves an open string) or 1-4. [Fig. 3d] For 9th's, it is essentially an octave with the upper note shifting higher. So the fingering is 0-3/0-4 (when it involves an open string) or 1-4 (stretching 4th finger!). [Fig. 3e] For 10th's, 1-4 (intensely stretching 4th finger!). [Fig. 3f] These are some fundamental rules for chord writings on Violins. Questions or example discussions are welcomed. HoYin
  24. A short piece for violin and piano 🙂 Sounds very classical. I also got a little limited by my poor knowledge of keyboards… One has to practice … 😉
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