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Found 107 results

  1. If anyone feels like a puzzle and has time, I'd love some help. I don't have the theory background to be able to define what I'm doing here other than "it's jazzy." I believe I've got a bit of Dorian in there. Probably some harmonic minor and melodic minor. And some stuff that can just be considered chromaticism and notated however it makes the fiddle-y bits easiest to read. If I could confidently pin down a key or mode for the major sections, I'd be able to figure out which accidentals are sharps vs. flats, but right now I'm not too confident. (Hides head in shame from all the pianists here.) I would love any guidance you can send my way! (Also, if any string players want to nit-pick my slurring decisions, please let me know! I used to play violin, but it's been about 15 years.) Thanks! -pateceramics Pussy Cat March.mid
  2. SLICE for violin and piano (Soulful Latin In a Classical Environment)
  3. This is my rondo in Bflat from my violin sonata. This piece is about the secret crush I had on my first music theory teacher, whose name was Meredith. I don't know where she is now, but this is my ode to our love. This is my first time sharing some of my music on this site. Thank you in advance to those of you who take a listen! The rondo is in ABACAB form, with a coda at the end.
  4. This is the third and final movement of the violin concerto I had written a while back, now copyrighted and published and whatnot. The speed it's written at is a parody of Barber's last movement of his violin concerto, but when this was first performed, it was definitely taken a bit slower. This piece deserves a lot of criticism, especially with the timpani part, since it relies on pitch bending on timpani which is extremely difficult to execute. Hope you all enjoy, though it may be a bit of a farce.
  5. Hi everyone, This is a piece that I was asked to write as a member of NMSW Young Composer's Academy. What do you lot think?
  6. Hi, this is a piece called Rojak Blues for Dizi in A, Clarinet in A, Gambus, Violin and Cello. It's written partially the style of a 12 bar blues! You can listen to it in the soundcloud link:
  7. Hi everyone! Here's my piece for flute, violin, cello, and piano, called "Mystic Lands". It's a rondo, but when the A section returns, the instrumentation, harmony, and accompaniment are changed. I also wrote it for a class, so I had to use different harmonic techniques for each section: -For the opening section, I used static harmony/pedal tones. -Letter A uses polychords with major and minor triads. -Letter B uses added note chords. -Letter C uses polychords consisting of seventh chords, quartal structures, quintal structures, and clusters. -Letter D uses compound chords (meaning various intervals are combined to create a non-tertian voicing). Hope you all enjoy!
  8. I've been studying violin instrumentation for a bit, and the last resource I looked at was a video by Thomas Goss on unaccompanied violin scoring. At the end of this lecture video, he asks the viewer to compose a 2-3 minute piece focused on lyricism and craft. This is what I came up with: my first attempt at violin scoring. The playback on my notation software is pretty crappy quality, so just to be clear, I mean the quadruple stops to be two successive double stops, favoring the top two notes. And the accelerando does not really stop at m. 39, that is just another inconsistency with my notation software. :/
  9. 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.
  10. Sketch No. 107.mp3 (The player seems to be malfunctioning for the post) Hi. I just thought this would be fun to post. Had to compose and perform graphic scores a while back and this is the sight-reading attempt people had on mine. It was performed by baritone saxophone, violin, piano, and tenor voice, but not written for them.
  11. Hello! I am thinking of making a collection of pieces for the violin and this is what I have started so far. I am kind of new to writing music, and I am totally open to feedback! :)
  12. 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!
  13. A long break after my first violin stream - almost 3 years - here comes the 2nd! I think this one achieves a great degree of coherence throughout its short duration, despite momentary "breaks" in the seamless course of its stream. Perhaps I might have waited a little more before posting it, but I wanted to share it "hot off the press" to retain it's spontaneity and not risk subsequently tinkering with it. Here is the link to the first one: http://www.youngcomposers.com/archive/music/listen/5792/violin-stream-no-1/
  14. This is my 29th soliloquy for violin. Here is the link to my previous violin soliloquy: http://www.youngcomposers.com/t34051/soliloquy-for-violin-no-28/
  15. So, I'm reposting old stuff because they're somehow gone. This is one of them. Enjoy^^
  16. Here is my submission for the Summer 2016 competition. Apparently, I like to cut it close. Feedback is much appreciated. Cheers! -- Noah
  17. 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!
  18. A while back I posted the first movement of this concerto. This is the obligatory slow movement of it, and I think it flows better than the first movement. A lot of inspiration was taken from the Barber violin concerto, and was written kind of a while ago, because I was obsessed with that piece for while; haha.
  19. This piece of mine - Soliloquy for Violin No. 28: A Personal Reflection on Shakespeare's "To Be or Not to Be" Question (Hamlet) ('Mi'* Be; Do Be; 'Mi' Be) - was inspired in response to the competition on the theme of Shakespeare that is currently being held in this website. However, it falls short of one of the criteria of the the competition in being less than five minutes long. I consider it to be one of my good pieces and so wanted to still share it. I hope you enjoy it. As for the extra-musical associations of the piece, I have already explained in the score via asterisks which I reproduce below: Mi ('մի') means "Don't" in Armenian. Therefore the beginning 3 measures "E B C B E B" translate to "Mi B Do B Mi B" and then to "Don't Be; Do Be; Don't Be", like an obsessive question haunting its victim. Regarding the last two notes of the piece, B & E, these last two notes end the piece, after four bars asserting "Do B(e)" again and again, by the note-word combination "Be Me", thus giving us a reason to choose to be, the notes at the same time spelling/commanding "BE"! I have tried as much as I can not to let the extramusical associations effect the quality of the music, even thought the music itself arises largely from them! To be sure, the music, in translating notes into words and words into notes, etc, might be taking the "To be or not to be" question a little to literally, but I hope that the music itself also gives some sense of the issues that the question deals with. It is for you to decide how far it has succeeded. I look forward to your feedback.
  20. This is a slightly revised version of my most recent concertante piece. It is a pure virtuosic showpiece for violin and orchestra in the light romantic style trying to draw inspiration from other violinist-composers like Sarasate and Wieniawski. It is in simple A-B-A form ending with a short cadenza-like coda.
  21. I finally got this piece copyrighted, so I can put it up now... this is a pretty early piece, and one of the first I felt relatively proud of for doing. This is just the first movement... hope you all enjoy.
  22. Moments musicaux pour violon et piano, Op. 19 No. 1 in D minor
  23. Guest

    Opus 12

    My first orchestral piece finally done! Opus 12 is written for modified orchestral ensemble consisting of : Piano, Woodwinds : flute, oboe, A clarinet Brass : French horn Percussion instruments : glockenspiel, vibraphone, tubular bells, triangle Strings : violins 1, violins 2, violas, violoncellos and contrabasses. and harp. Composition consists of first part (moderato - E major/C sharp minor), second part (F major/D minor) and third part - modified first part. Since I'm a complete amateur high school student, any helpful hints and comments are very welcomed! Score in PDF format coming soon. For more music please visit : https://www.reverbnation.com/mademoisellelilaclucrezia
  24. Mehdi HOSSEINI (*1979)Inertia I (2014), for clarinet/bass clarinet, piano, violin and celloENSEMBLE PROTON BERN Conductor: Matthias KUHNPerformers:Richard Haynes, clarinets/bass clarinetSamuel Fried, pianoMaximilian Haft, violinJan-Filip Ťupa, cello
  25. One more song for violin and piano using exotic scales. SONG 7.mp3 SONG 7.pdf
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