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  1. Hello everyone, So this is the first piece I'm uploading in this forum. I tried to capture different parts of the Movie: Tonari no Totoro (My Neighbor Totoro), such as the general setting in the beginning, the soft rain that gets stronger and stronger, the appearence of this creepy cat-bus and finally the happy ending. Sheet in PDF is applied as well PLease enjoy and be honest ;)
  2. How easy is it on a violin to change between non-consecutive positions e.g. 3rd to 7th? Would this be necessary to do on a violin?
  3. Hello everybody, As a wind player, I can easily compose compositions for wind instruments, because I know how they are played and I have experience with playing saxophone, which is actually a combination of all woodwinds. My woodwind writing is fluent and almost without any mistakes. Orchestration for woodwinds is very easy for me. Writing for the string family is a different story, because I have never played one of the string familiy members nor do I have any friends who play such an instrument. I realize that reading books and videos on the internet about how to write for string instruments will not help me very much. String writing is a very different concept than wind writing and because I want to become familiar with the string family and in order to write high quality string music, I am thinking about taking lessons with a violin teacher. Do you have any advice for me? Is it worth learning the Violin (or one of the other string members) in order to understand the instrument and how to write for it? The string instruments are next to the piano some of the most important instruments in (classical) composition. I am looking forward to your response! Maarten
  4. I apologize for the quality. Unlike my other pieces whereas I wore studio grade headphones (which died on me after six years) I am now limited to ear buds, so mixing was an issue for me. There's so many sound flaws here I'm embarrassed to even upload this. You can barely hear the choir, the flute fades in and out, the clarinet can't be heard, and you can't even hear the viola or cello...ugh.
  5. Hello, I composed this little piece in response to a challenge on the forum to write for a combination of two instruments based on your birthday date. At the same time, I used this piece for an exercise, I gave myself: write a piece in less than 15 minutes. My combination was the Violin and the Horn (in F). I tried to keep the atmosphere very light, yet interesting. The music has to be funny, because it is a 'birthday song,' so therefore the Allegro scherzando and no very heavy harmonies. Sharing your thoughts is very appreciated! Maarten
  6. Does the G string of a Viola have the same timbre as the G string of a Violin?
  7. This piece here, despite the timing and the name of the piece, has nothing to do with the solar Eclipse this year. This piece was actually written back in 2012, and I've recently remastered it. It was wrote back when I was still very much into the ponies, and was actually inspired by Luna. The intro is meant to be grand, and fade into a sense of regalness while still keeping a dark undertone, signifying Luna's dark past. This piece starts off in f# minor, and then hits a mood change and goes to A Major in measure 82 until the last segment of the piece which is a modified version of the melody used from the center. This will be track number 8 on "Dust of the Past" when it is released.
  8. A chiefly didactic piece for a Grade V violinist with accompanying piano.
  9. 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!
  10. Larghetto explores the possibility of mingling the old styles with the contemporary twists.
  11. Divertimento a 3 in B-flat, for 2 Violins and Violoncello I. Allegro di molto II. Andante III. Allegro giusto, alla breve Composed: April 4-17, 2017 Style: Classical, circa 1790 I enjoy spending my lunch hours at work productively when I have the energy, sketching or doing exercises. A couple of weeks ago I started a counterpoint exercise that I worked on for the next couple of days, and it turned out well. The thought occurred to me that perhaps it might serve as a movement in a larger work, in which I might also use some old ideas that had been waiting around in the back of my mind for years, and the idea for this little divertimento was born. Most of this work was written by hand while lunching in my car. The term divertimento denotes a multi-movement work that is light in character, for the diversion or amusement of the audience or players (or both), as the name implies. This one is in three movements, and is modeled after similar works I have played and heard by Joseph Haydn (1732-1809). It is quite short, much like Haydn’s examples, lasting just under 10 minutes. Description: The energetic first movement (Allegro di molto), in sonata-allegro form, is dominated by a dynamic 4-measure opening motive that I have had in my mind for many years, which I found opportunities to develop throughout the movement. The contrasting second theme, smoother and calmer than the first, is stated canonically by the two violins, accompanied by a chromatic accompaniment figure in the ‘cello adding harmonic complexity. The opening theme is then restated and developed into a codetta to close the exposition, which is then repeated. The development section treats part of main theme in close canon, modulating to distant keys to develop the second theme before making its way back to the tonic B-flat for the recapitulation, and the movement ends with a short coda, again based on the opening theme. The second movement (Andante), in the subdominant key of E-flat, is in the simplest of binary forms (ABAB), and begins somewhat statically, setting a mood of calm to contrast with the verve of first movement before gradually becoming more florid and interesting starting in m. 6. The second theme is a pretty melody I have had in the back of my mind for at least 30 years, patiently waiting for the right application, and now it has a place at last. The second time it comes around, the eighth note accompaniment is changed to sixteenth notes for variety. The movement closes with a very short coda, a varied restatement of mm. 11-12. The third and final movement (Allegro giusto, alla breve), originally conceived as the aforementioned counterpoint exercise, is a light-hearted fugue in an Italianate style, on an original 6-measure subject reminiscent of Handel. There are four statements of the subject by each of the instruments, including statements in stretto and an inverted statement, interspersed with episodes developing foregoing material. The movement closes with a coda based on the rhythm and contour of the last measure of the subject, on a pedal B-flat in the 1st violin and ‘cello alternately, ending in a plagal cadence. Concerns: 1st Movement – I’m a little worried that perhaps I have overdeveloped the opening motive by repeating it too often, even if I vary it – particularly the four chords at the beginning of it. I’m open to the idea of reworking the movement slightly if I get a lot of feedback that this is a problem. I love developing themes, but I want to avoid monotony. 3rd Movement – I’ve been writing counterpoint as a serious avocation for years, having listened to a lot of it and read several books on the subject. I even authored the very popular “Fugue Crash-Course” here before I knew as much as I know now, yet I still feel insecure and mystified. I try to proceed confidently, but since I have taught myself everything I know, I constantly worry that I’m making mistakes out of ignorance. It has happened before several times. I want to make sure what I’m doing is “by the book,” so if any of you notice anything in this fugue that you know for certain is wrong or mishandled, I want to know about it. I hope you enjoy this little piece, and thank you for your kind attention.
  12. Divertimento a 3 in F, for 2 Violins and Violoncello I. Allegretto grazioso (3/8) II. Andante (2/4) III. Allegro giusto, alla breve (cut time) Composed: 2011 Style: Classical, circa 1790 This work is the first of two such divertimenti for this instrumentation I have composed to date, the second of which having been written and posted here just recently. I consider it one of my more charming and attractive works – a personal favourite – and among my most ingenious, a tour de force of development and counterpoint (of which I am very proud) without being obvious about it. One hardly realizes that motives are continually being developed throughout both the first and second movements, in as unassuming a manner as possible. It is in three movements, and lasts 10-½ minutes. Description: The first movement (Allegretto grazioso), in Sonata-Allegro form, opens with a lilting, graceful theme of rising steps that ascend the scale in slurred pairs, followed by a series of descending scales in skittering triplets, and a few “sighing” gestures, that together I feel form one of my prettiest melodies. From it are then extracted the following three discrete motives that are developed almost constantly throughout the movement: The playful second theme contrasts with the elegance of the first before a pair of turns and a florid cadence transform it into something more refined. The development section further explores the possibilities of the various motives around a central sequence, and culminates in a rising and falling series of coupled steps (motive 1) on a pedal tone that brings the music to a very satisfying return of the opening theme in the recapitulation. The second movement (Andante), in binary form, is in the subdominant key of B-flat, and opens with a coquettish theme from which, as in the first movement, are extracted the following two discrete motives that are developed elsewhere in the movement: This theme is then repeated in the tonic minor, and through a surprising modulation makes its way to the movement’s dominant key of F. There is no second theme per se, but rather a contrapuntal development of the foregoing motives. The third and final movement (Allegro giusto, alla breve) is a rollicking, rather wacky fugue (how often does one hear those words together?) on a jaunty subject, beginning on a syncopation, and characterized by an unexpected, dissonant suspension, accented sforzando for humourous effect. The bass line to the subject, introduced in the ‘cello, is worked canonically into the entire exposition as if it were a second subject; hence the exposition functions much like a double fugue, though it doesn’t continue that way. I didn’t take the construction of this fugue too seriously (this was not a counterpoint exercise in earnest), being more interested in keeping it light and quirky; and although the subject begins on the fifth degree of the scale, I decided against the pedantic complexity of devising a tonal answer in the exposition – though otherwise it proceeds conventionally for the most part. Passing dissonances run rampant, and transitions and modulations are often purposely abrupt, taking unexpected turns intended to raise eyebrows, and a smile or two. After a final sequence on a pedal tone and a truncated statement of the subject, even though it feels like the movement should continue, in a rush it throws itself headlong to a sudden, crashing finish as if it hit a brick wall at a run. This is probably the oddest piece of counterpoint I’ve ever written, but I feel the jocular treatment of what is usually by its nature a serious form contrasts well with the sunny warmth and charm of the previous two movements. Premiere: This work was premiered in July 2016 by members of the Octava Chamber Orchestra, a community orchestra in the Seattle, Washington area, as part of a unique concert of Baroque and Classical music by living historicist composers. Although I regret I could not attend the performance, I did receive the recording of it that I have posted here below. The outer movements are played a bit too slowly, and there are some mistakes and inaccuracies; but I’m gratified that the players took the piece seriously and made a sincere attempt at a sensitive interpretation. Overall, it’s one of the better performances I’ve ever received, and I’m quite pleased (to say nothing of being honoured, and very fortunate). Musicians’ and Audience Feedback: My contact with Octava, who played 2nd Violin at the premiere, told me that the musicians loved the piece. Though they found it somewhat challenging here and there, they said it was well written for the instruments and a real pleasure to play, just as I had hoped; divertimenti are supposed to be fun! It was the first work on the programme, and was very warmly received by the audience. Thank you for your kind attention, and enjoy!
  13. 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!
  14. 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.
  15. Hello :) I've composed a little piece for unaccompanied violin. Any feedback is appreciated, especially if it's from a violinist or someone with considerable experience in scoring for violin. Score and mp3 attached. Thank you!
  16. This time, I wanted to work with rhythm complexity and the mosaic form. I took a pice I had written for piano solo, which was a canon in prolatio, and I added two more voices to the canon in some partsThe piece is for two violins and piano. There are six different parts: A = 2 measures B = 8 measures C = 3 measures D = 8 measures E = 3 measures F = 4 measures The structures is as follows (written in the score): ABCDAEFCEFABDACEF Don't expect a classic binary, ternary or whatever form. This is a different (contermporary approach) where the parts are short and the mosaic is done combining them in different orders. So, the concept of variation and climax is not the classic one. Parts B and D are the more complex. The four voices (piano two single melodic lines, plus two violins) are in prolatio. The same melody is played at different rates or time signatures. These parts, although are not always consonant, are in tonal "environments": part B in Gmaj, part D in Dmaj. I wanted to focus in the rhythms. The other parts are in contrast. The texture of the piano is chordal, and tonality dissapears. Although the whole piece runs in quarter note = 78, I notated the exact relative timing for the voices in prolation. This was an observation that one of the teachers I had made, in order to make clear to each player the timing. https://soundcloud.com/user-406660501/life-in-a-nutshell LIFE IN A NUTSHELL_LH - SCORE.pdf
  17. Hi everyone, After listening to J.S. Bach - Crab Canon I thought I'd have a go and write one too. (It's a good composition challenge, I'd recommend it) https://soundcloud.com/maxmitchellmusic/crab-canon NB: To anyone who's interested, a crab canon is a piece where the melody is played, then played backwards (or retrograde), and then the retrograde and original melody are played simultaneously.
  18. This is my "Three Transformations of an Original Theme for Solo Violin, Op. 292". It is my second set of transformations for solo violin, as well as my second set of transformations ever. Quoting myself from the description of my initial set of transformations, the "Five Transformations of an Original Theme for Solo Violin, Op. 260": "Whereas in variations you have always to variate from the main theme, in transformations, you transform from the initial theme 'a' into 'b', and then from 'b' into 'c'. You are, in other words, freer." This time around, I considered the theme to be the first transformation simply because, unlike the case of a theme and variations, the theme of a series of transformations is neither more nor less important than any of its transformations. In fact, either of the three transformations in the current piece can be considered to be the theme, not necessarily the first one. We can therefore say that the major difference between a set of variations and a set of transformations is that the latter is not theme-centric while the former is. Making an analogy with atonality in which there is no tonal center, we might say that in transformations there is no thematic center, There is merely a relationship between individual transformations, between different embodiments/treatments/expressions of related musical themes. In my compositional output, I can say that I see the transformation as occupying a middle ground between the sententia and the soliloquy. Each transformation is longer and more developed than a sententia but less so than a soliloquy. Another way to think of transformations would be as "variations on no theme", or "variations of a composition" or "Variations of composition/composing". Here is the link to my first set of transformations: http://www.youngcomposers.com/archive/music/listen/7998/five-transformations-of-an-original-theme-for-solo-violin-op-260/
  19. Here is the slow movement from my first violin sonata. Enjoy!
  20. Probably not all marked perfectly, but close enough! I figured if I didn't go ahead and get this done soon, everyone would have forgotten the Women's March, and I'd need to write a new one to honor a different set of marchers. Hmm... I hear the March for Science is coming... Shout out to Ken for helping me figure out my accidentals, in all their multitudes!
  21. 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
  22. SLICE for violin and piano (Soulful Latin In a Classical Environment)
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