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Hello everyone! I recently finished composing a fugue for brass trio as a second part to the canon for brass trio that I posted some time ago. Since I do think that both pieces belong together and sound much better together, I post both pieces as one. The canon is a strict canon at the octave for the most time, but on measures 15, 21 and 22, the canon is broken on the top voice in order not to reach higher than the high C. The fugue starts at 1:45. It starts in Gminor but finishes in Gmajor (in the same way the canon started). It has a theme (subject), two countersubjects and it contrasts in rythm and tonality (since it starts in Gmin) with the canon. The measures in which the subject (or the tonal answer) appears and their tonality are the following: m.30-37: Gmin subject | Dmin answer | Gmin subject m.42-45: Bbmaj subject | Fmaj answer m.48-50: Dmaj subject m.53-54: Emin subject m.59-60: Gmaj subject Any feedback, suggestion or comment is welcome. Thanks for listening and hope you like it!
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Hello everyone! I just finished a canon at the octave for three voices which I composed for practicing counterpoint. I did it for practicing three part counterpoint without having to spend to much time thinking about the melodic contourn for each voice. As an exercise it was really interesting and fun to compose. I composed it without instruments in mind, I just chose the brass trio because it sounded the most beautiful to my ears. Therefore, I am not sure whether some things might be unplayable (specially the highest notes from the trumpet). The canon is strict for the whole piece except for the B-C-D-E ascendent scale going to the EM chord chord (V of ii) in bars 11, 15 and 19, which goes through the natural, harmonic and melodic minor versions. Besides that, the only moment in which the canon is broken is on the last measure. Composition-wise, I felt really restricted because of the canon rules so I am really interested about the different techniques that could be used for adding interest to such strict pieces. Also, the strict canon made everything harder so probably there are many parallel octaves and fifths I did not see :S. Any comment or suggestion is welcome. Thank you for listening!
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Hey Youngcomposers! Been a part of this community for years, and I'm so glad to see it's still growing! I wrote just a little adventure piece with some Celtic influences. I hope you enjoy it! I had a ton of fun writing it. Edit: I also threw this piece with some other ones on spotify. Feel free to take a listen! https://open.spotify.com/album/5I1tcYvpdeea9p3MQ5nrOQ?si=juYyyaajQVKWafkLuKM21Q
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Clarinets commonly use two keys for their instrument - Bb and A. However, Cornets, the lead melody section in concert bands and brass bands, only seem to use a Cornet in Bb. This would be normal - after all, there is no Trumpet in A - but I have found records of Cornets in A existing. Recently I was looking at the score for Elgar's Land of Hope and Glory. The opening clearly shows a brass section of 4 Horns in F, 2 Trumpets in F, 2 Cornets in A, 3 Trombones and a Tuba. Secondly, the ABRSM Music Theory in Practice: Grade 5 book shows it. The transposition chapter includes transposition practice for Clarinet in A and Cornet in A. So, are these instruments widely available? Is there any use for them over the standard Bb Cornet?
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Fanfare for My Brother Score.pdf In a passing conversation, Dr. Thurman had told me about how he was selecting repertoire for orchestra brass literature that included euphonium. This topic has always been a “thorn in the side” for euphoniumists worldwide especially for me as a compsoer. Although I knew they would probably never be played, I would write orchestra music with euphonium in college hoping one day the orchestra world would fall in love with instrument. Reflecting on that “pain”, I told Dr. Thurman I was going to rework a piece specifically just for him to conduct and called his own. I reached in my vault and throughly revised a piece originally called “Water to Wine” to “Fanfare for My Brother” to show my gratitude to someone who truly is my “Brother from another mother.” Here's from a read-through recorded on the phone.
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So... I want to compose more for orchestra and begin to build a decent corpus. Only thing... is that I'm more knowledgeable on string techniques and writing -with a growing understanding of woodwinds. Brass are my main issues... I just don't know the best ways to compose for them! I get that they can play soft... I understand that trombones and horns can provide nice padding to any texture -but, I'm scared to death to use them because I don't want to overpower the winds and strings. I can hear the brass instruments in my head (which is a good thing for orchestration) -but I still am hesitant to use them. Any tips or suggestions? -
Fin.mp3 A short piece intended for film
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You may need to turn your speakers/headphones up, i've been having some problems bringing my mix level up. Let me know what you think.
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Let me know what you see this piece fitting to, a movie scene, trailer, game, whatever it may be. On a side note, if you see yourself as a gifted mastering/mixer, please get in touch with me. I would love to pick your brain for some tips and pointers. Thank you in advance.
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Just some music I put to a slideshow of some stunning pictures I found on YouTube. Feedback very welcome 👍
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Again, I was not sure whether this qualifies for the chamber music or the large ensemble category, but here it is. Powder Peony Waltz is a Viennese waltz written for whatever group of instruments I like (modified orchestral ensemble with ornaments in the form of a piano and celesta). I know that the transition between different keys is extremely awkward and chord progressions are not very fancy, but I was simply asked to write a quick small piece for dance class at my high school for their annual ballroom dance show. I intended to make this sweet, flowery, and light. Thank you for listening an enjoy!
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Approbation - approval; commendation.
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With this I used a lot of the new software I've purchased from 8dio, except the cinema trailer sound effects which were bought seperately. I'm still pretty new to all of this new software and sounds so this more experimental if anything. There are literally thousands of sounds with these new software bundles and the ones here are just a few out of the thousands of others. This makes me really excited about the possibilities. Simple chord progression etc. Hope it sounds ok...
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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?
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Dystopian Dream (Brave New World prelude, Opus 18)
Guest posted a topic in Orchestral and Large Ensemble
A small prelude written for my English class - background music for a model based on the setting from A. Huxley's "Brave New World". In this composition, I tried to reproduce the cheap and ignorant, grotesque cheerfulness of Huxley's bizarre world of artificiality. Also, I thought that the concept of all-seeing eye would fit the dystopian nightmare. The pillar of this prelude is my loose improvisation in A major - one of the most happy and cheery keys, in my opinion. Thank you for listening! -
With this I tried to tell a story about a Duke that belongs to royalty who is very delusional and twisted. I tried to do something I don't normally do with instrumentation and I attempted to go for the film score level...
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This is a looping background music for a battle scene. Here is the scene where the music is supposed to be played: I appreciate any suggestions on how can I improve the track :) -
I actually saw these chords researching on a blog where a guy was teaching about minor and major thirds: Em - Gm - Em - Cm I thought they sounded good and decided to make something out of it. Edit: Listening to this a few I noticed a few things I should and shouldn't have done. 1.) The start of the harp arpeggio was too loud, it should have been a quieter note which would've led into the rest section better. 2.) Drums/timpani should've been louder and sustained a bit more (still trying to work with Stormdrum) 3.) Perhaps there was a bit of clashing. 4.) I think the waiting time during the rest portion was a bit long. Hope it was ok. The general idea was to portray an impending doom. The start of a grave threat that is slowly approaching, and having that sense that no matter what we face there are still those who will fight despite their imminent death. The beginning was the start of the darkness approaching, quiet and eerie. The warriors of light senses this and fights. The rest section is to convey a sense of defeat and towards the end is the anthem of the darkness which has won.
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(Since this thread has an unfinished piece and is video game related based on the same game I wasn't sure if this topic belonged to the Incomplete section or video game section. I apologize in advance if I am mistaken.) I have three tracks here: 1st - Is the one I've just now recently started working on. Mass Effect is one of my greatest games of all time and Clint Mansell composed my all time favorite theme song from Mass Effect "Leaving Earth" which I will post as well. And if you've played the start of the game while his theme is playing you'll probably burst into tears like I did...it is that sad. I basically tried to work around the chords with something entirely original. Turns out I couldn't really stop from making it sound like the original :( 2nd - This is a cover song I did of Leaving Earth back in 2013 or 2014, it's been a while. I didn't know the ACTUAL chords to the original but here I tried my best to mimick the original as best as I could. 3rd - Last but not least here is the original song by Clint Mansell. YouTube link: https://m.youtube.com/watch?v=KGHA9oO1Ybg -
This march was written by me in 2014 for a student's band, but unfortunately, it has never been performed. The syntax tries to follow the structure of a classical march (with repeats, introduction, trio, etc.). I'm up to write a better ending for the piece. I think after D.C. al Fine, I should add a dominant 7th svorzando chord in eighth time, also staccato maybe, and end with a tonical chord with glissando (sol-la-ti-do) for the instruments carrying the lead melody. Recorded with EWQL's Symphonic Orchestra Gold Edition.
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I am trying to compose something for a orchestra with a lot of wind instruments, wood and brass, and I am not sure if they can actually continuously play, in example, an arpeggio for minutes or something like that, without rests. How long can they play? What are the rules? Or what do you recommend? Thank you. -
A maxixe, a Brazilian dance.
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What are some good pieces to study brass chamber music writing? I have an assignment to write a brass duo/trio (I chose a trio) due Friday and I haven't been able to find anything decent.
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The Orchestra And Its Reluctant Use Of Brass
gigeorge17371 posted a topic in Composers' Headquarters
It seems to me that brass in the orchestra is reluctantly used, held back for the big explosion, almost like percussion. Particularly in the romantic era/ nineteenth century (whatever you want to call it). I understand as time has progressed that brass has had its wondrous moments of melodic bliss but they are quite few and far between. Mahlers Funeral March in his 5th symphony is a good example. I'm hoping you guys can prove me wrong by presenting a work (or part of) from any era, could even be one of your own works, that displays a good use of the Brass ensemble. It would be grand if you could explain why as well. I'd probably put this forward as the finest use of the Brass ensemble in a Romantic orchestra- Verdi's Triumphal March from Aida I think this particular march possess' fantastic orchestration for Brass. When the main theme of the march is presented on solo trumpet and is likely accompanied by lower brass you question where Verdi is going to this... he doesn't explode into an array of noise. Instead theres a brief explosion in the orchestra before the theme is repeated. This time by two trumpets. < so subtle but beautifully effected, it portrays the unity that a march should possess. The theme is repeated a third time but the trumpets separate, one possessing the theme and the other the counter-melody. The strings and wind then take over for a brief interlude before the brass re-enter playing what I believe is an earlier theme. Then whats this the trumpets return in a grandioso finish accompanied by the full orchestra. I just think its incredibly effective orchestration and Verdi doesn't lose the effect of the brass when they return at the end. Instead it is probably heightened as we are just waiting for them to return! Anyway... It would be cool to see what any of you find.
