Jump to content

Search the Community

Showing results for tags 'bass'.



More search options

  • Search By Tags

    Type tags separated by commas.
  • Search By Author

Content Type


Forums

  • Board
    • Announcements and Technical Problems
    • Young Composers Magazine
  • Upload Your Compositions for Analysis or Feedback
    • Orchestral and Large Ensemble
    • Chamber Music
    • Choral, Vocal
    • Piano Music, Solo Keyboard
    • Incidental Music and Soundtracks
    • Jazz, Band, Pop, Rock
    • Electronic
    • Incomplete Works; Writer's Block and Suggestions
  • Community
    • Masterclasses
    • Music Appreciation: Suggest Works or Articles
    • Composers' Headquarters
    • Repertoire
    • Performance
    • Advice and Techniques
  • Competitions and Collaboration
    • Competition Hall of Fame
    • Monthly Competitions
    • Collaborative Works
    • Challenges
    • External Competitions
  • Technological
    • Finale and Sibelius Help Desk
    • Sound Libraries
  • Rite of Spring analysis Club's Part 1: Augurs of Spring
  • Rite of Spring analysis Club's Part 1: Introduction
  • Rite of Spring analysis Club's Part 1: Ritual of Abduction
  • Rite of Spring analysis Club's Part 1: Spring Rounds
  • Rite of Spring analysis Club's Part 1: Ritual of the Rival Tribes
  • Rite of Spring analysis Club's Part 1: Procession of the Oldest and Wisest One
  • Rite of Spring analysis Club's Part 1: The Dancing Out of the Earth
  • Play this Passage's HOW IT WORKS
  • Play this Passage's WHO PLAYS WHICH INSTRUMENT(S)
  • Music and Media's Discuss and Collaborate on a Project
  • Young Composers Preludes and Fugues Project's Submit a piece
  • Young Composers Preludes and Fugues Project's Rules and Guidelines

Find results in...

Find results that contain...


Date Created

  • Start

    End


Last Updated

  • Start

    End


Filter by number of...

Joined

  • Start

    End


Group


AIM


MSN


Website URL


ICQ


Yahoo


Jabber


Skype


Biography


Location


Occupation


Interests


Favorite Composers


My Compositional Styles


Notation Software/Sequencers


Instruments Played

Found 28 results

  1. This piece is from a beautiful Georgian folk love poem. During my time in Afghanistan, we did a lot of work with the Georgian military, and I was always very impressed by their culture and music, so I decided to do some research into it. Georgian music is some of the oldest polyphonic music in the world, and that ancient sound is reflected in the "chant" parts of this piece. Modern chordal movements are also included to contrast the old with the new while still maintaining continuity throughout. There is both positivity and pain in this piece which is approprtiate for both the narrator of the poem and for the country of Georgia itself. I recorded this myself (countertenor I recorded down a minor third and then transposed, low basses same thing but up a major second), so excuse the mediocre singing. Net'avi ratme maktsia bulbulad gadamaktsia bulbulis ena masts'avla baghebshi shemomachvia davk'ono okros k'onebi davpero vertskhlis ts'q'alshia saghamo khanze giakhlo chamogiq'aro banshia dilit ro gamosuliq've shig gagekhvios k'avshia ნეტავი რათმე მაკცია ბულბულად გადამაკცია ბულბულის ენა მაწავლა ბაღებში შემომაჩვია დავკონო ოქროს კონები დავპერო ვერცხლის წყალიშია საღამო ხანზე გიახლო ჩამოგიყარო ბანშია დილით რო გამოსულიყვე შიგ გაგეხვიოს კავშია I wish I could turn into something: Turn into a nightingale, And learn the nightingales' language; I'd come to dwell in the garden. I'd gather up golden bouquets, Dip them in liquid silver, I'd come to you in the evening, And lay them on your roof. When you come out in the morning, May they be entwined in your curls!
  2. Trying to gather a few tracks I've posted before all in one playlist. Does anyone have any advice for lead?
  3. Hello. I have question about solo bass singer. How low can a bass sing and yet be able to maintain a full resonating Fortissimo? For example, could it have the same Fortissimo low D (D2) as a Bassoon playing it in low D? Thank you.
  4. Christian "Cj" Rhen

    Before The Dawn

    This is a new song in conjunction to the my other one called After The End. After The End received honorable mentions in the nation music educators association electronic composition contest. Listen to this and tell me what you think. Follow me on Instagram @wind_player1 and on Facebook as Cj Rhen. Thank You Listen to Before The Dawn by Cj Rhen #np on #SoundCloud
  5. Found this sweet backing track on Youtube. I just had to jam over it. I named it Ninja Blade because it has a anime theme to it lol. I love it. Wouldn't call better than Seismic Melody but I'll say this a close second. I played lead here and also some suspended chords. Also, to clarify (and this unrelated to the topic) I've had a couple of people ask if I still did orchestral composing. Answer is, I do but I'm just taking a break from that.
  6. I purchased a new interface for my computer and this is the very first, fully structured guitar track I've made using it. It's the Focusrite Scarlett 2i2 interface. I've never mixed and mastered a track recorded from an interface before, so I'm not sure how well the quality is...but from you guys reviews it'll help in the future.
  7. Just finished a guitar track. I think it's in C# Minor - my guitar was tuned in C#. Forget what scale I used. Anyway, it was just something I messed around with. Mainly ideas thrown together over a central melody/rhythm I found on YouTube.
  8. Christian "Cj" Rhen

    Elevator to the Moon

    I wrote this piece before Martian Procession but posted it afterwards. Listen to this piece and tell me what you think. I used a ton of my Korg prologue and sequenced a lot of drums. Follow me on Instagram @wind_player1. Check out my Sounds.com content for sax loops and samples. Also email me at cjrhenhome@gmail.com for suggestions and requests for content. Thank You!
  9. Christian "Cj" Rhen

    Martian Procession

    This is a new song I write with my Korg Prologue and a bunch of other stuff. Follow me on Instagram and at Sounds.com where I am a producer for loops and samples. Comment what you think.
  10. Repetitive music
  11. Monarcheon

    when ive fallen

    I wrote this for a 48 hour composition contest in Seattle. It did relatively well! The performers misinterpreted some of the markings but they had such a short time to learn it, I understand why that could have happened.
  12. LostSamurai

    Seismic Melody

    Decided to record some lead guitar while thinking of ideas for my next score. It's in the key of C#m, which I love the most. Added some pinch harmonics and a short guitar solo. Feedback is always welcomed. Headphones recommended for better sound. Hope you guys enjoy!
  13. LostSamurai

    Revealing My Conviction

    This track is expressing my guilt mainly to my peers whom I've done and said things to that were out of line. Almost went into tears recording this. I think out of all the music I've uploaded to this site, this one came from my heart and soul the most.
  14. Lucas Egnér

    Short gameinfluenced piece

    My second composition I've made that's longer than 2 min, feels like I can work on it a lot more, especially with the percussions and making the ending even more climactic and big. Big inspiration from games from playstation 111 C 15.mp311 C 15.mp311 C 15.mp3
  15. Maarten Bauer

    Weesgegroet (Ave Maria)

    Hello everbody, This is my first serious choral composition, which I composed to practise counterpoint and voice leading. The piece is an Ave Maria, but the language is Dutch, which made it quite hard to compose music on. It is a hard language regarding accentuation. Dutch text: Wees gegroet, Maria, vol van genade. De Heer is met U. Gij zijt de gezegende onder de vrouwen, En gezegend is Jezus, de Vrucht van Uw schoot. Heilige Maria, Moeder van God, Bid voor ons, zondaars, Nu en in het uur van onze dood. Amen. There is trouble with the audio in this topic, so here is the link: Nevertheless, I am pretty content with it. What do you think? Tips are welcome! Maarten
  16. LostSamurai

    Seeking Redemption

    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.
  17. Hi, it's been a while since I posted so I thought I'd show something off while I work on a large orchestral piece I'm taking my time on. The drums, rhythm guitar, and bass, was from a free backing track I've found on Youtube; the lead guitar is what I've done (the part with the terrible quality haha) The next one is where I am working on my guitar solos. I believe I hit one wrong note outside of the key of D Major (very noticeable) And I know there are a lot of random notes, I was freestyling...didn't necessarily write it down like I did the first one.
  18. Maarten Bauer

    Double Bass Harmonic

    Hello, Currently, I am writing a piece including Double Bass. I want to have the Bassist play a natural harmonic, but I cannot find a correct solution for the notation like in the following passage: (Do not mind the red notes) (The notes sound an octave lower) The result of the harmonic is an A4, but the open string is a D2 and the fingering an F2, with the result of 7 ledger lines... If I write the harmonic in the treble clef the passage is as follows: Although there are less ledger lines (4) I think this looks terrible too and I don't know if a bassist is able to read so many ledger lines below the treble clef. I have thought about using the tenor, alto or soprano clef, but is this allowed? Can bassist read these clefs? Do you have any advice for me? Maarten
  19. This is the first of three vocal chamber pieces I'm working on. They're all based on and adapted from ancient Norse poems (translated into English). The Incantation of Hervor relates the story of a valiant young 'shield-maiden' (Hervor), who visits the burial mound of her father (Angantyr) to demand that he (now a ghost/wraith) give her his magic sword, which she considers her inheritance. I've never written a piece with vocals before. It was certainly a challenge to get the lyrics to match up with the music, and I had to make some minor alterations to and omissions from the original text (but the spirit of it is still there). I realize there are no slurs and not many expressive markings -- this is just a first draft. Any feedback, comments or criticism is welcome! Thanks for listening.
  20. Eviternity (Opus 24) is a piano monologue. Even though it has slight additions of cello, glockenspiel, and bass guitar as small ornaments to spice the whole work up, it is mostly a highlight on piano. I was not sure whether I can post it here, but I treat it as a piano work in the highest degree; the composition could be played as a soliloquy without any other instruments. I had some harmonic issues when writing this piece, so you may find slight dissonances. However, I left those unchanged in the end (I do not wish to stick to consonances all the time). This composition is also known as "the most cheesy work I've ever written." Thank you for listening!
  21. 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!
  22. 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.
  23. Nocturnal creatures on hunt. A music I made for a scene on my game where the player walks through a forest in the night.
  24. Output is excited to announce SUBSTANCE, a completely new breed of bass engine built for the modern producer, composer, musician and sound designer. Combining heavily processed electric and acoustic basses, real brass sections, the dirtiest analog synths, and insane sound design, SUBSTANCE is a deeply produced bass engine making sounds unlike anything else. The engine combines three layers of sources and blends them together with layer and global FX, filters, modulation, an advanced arpeggiator, flux control and macros. “Our goal with SUBSTANCE was to create a bass engine that was not focused on emulation, but rather, on pushing the envelope with creative and powerful new sounds," says Output Founder Gregg Lehrman. “It's our most sophisticated engine to date and you can really get a sense of that from the first note.” Hear SUBSTANCE at output.com Price: $199 SUBSTANCE Features: A playable instrument with 300 presets Powerful new 3-layer engine Preset menu with smart tagging Layer FX and global FX 4 central macro sliders unique to each preset Advanced arpeggiator Monophonic and Legato modes Built-in help menu Rhythm page that syncs to tempo
  25. Opus 9, Madrigal no 1, written for SSATB(lyrics : Bright Star by John Keats). Full album cover and more music available here : https://www.reverbnation.com/mademoisellelilaclucrezia Opus 9.mp3
×