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Found 77 results

  1. Good morning (at least where I live 😅) 🙂 I wanted to try to write something for cello solo, with the (I'd say rather poor) knowledge I have of the instrument. Here's the result : Have a good day 🙂
  2. Hey gang, I posted this piece earlier when I was in the middle of writing it. Here is the finished product. This is the piece I composed over the spring semester during my first semester of composition lessons at the university I am attending. Please enjoy and let me know what you think! (P.S. Evidently when you use Petrucci font in Finale, the tremolo stops working, so that's why it appears in the score, but is not in the MP3 [do the midi problems ever end...?])
  3. **Re-uploaded due to file attaching issues** A piece written for a composition assignment. This piece is 12 tone and I have attached the tone row matrix I was working from. This is how I submitted it but I have a few issues with the tempi in certain parts as well as the general form. All feedback welcome ☺️
  4. Guten Tag! This is one of the projects I have been working on this semester! Feel free to check out the concept behind it at this blog post: Composition Notebook: "Morning Birds" - the story. What I am attaching for ya'll is the full score (which includes the cues for the three different flute parts, but not the actual parts), one of the flute parts (so you can see what they look like), a MIDI rendering of all the orchestra and flute parts combined, and a MIDI rendering of just the orchestra part (Titled "Three Violin Version..."). One of the flaws of the combined MIDI file is that the flute parts are made up of several short fragments/'bird calls',as you will see in the attached flute part, and the players will be improvising which bird call they play when. In other words, it will be a much more organic process than a computer just playing them all in order, as happens in the recording. I think the MP3 of everything combined sounds pretty terrible and clamorous which is not at all the intent of the piece. I suspect that this chaos will be lessened considerably when real players are performing this. If anyone has experience writing this sort of thing, I would really appreciate any advice you'd have to offer. Also, I am happy to hear comments from anyone about this piece, whether they be about the orchestral writing, the special effects, or anything else. Thank you and enjoy!
  5. Hey there, Here is another piece which I have been working on this semester! I really need to come up with a fun title, so if anyone has any ideas, please share! Also, I am happy to hear any comments on this work. It is in four movements, and I hope that you enjoy each of them (my personal favorite is the third one - 'Largo').
  6. Hi all 🙂 Just wanted to give it a try to a duet between a recorder and a cello... Here it is ☺️
  7. My master's degree is starting to draw to a close, and I'm very aware that every piece I write now will be one of the last while I still have my tutor. For that reason, I've really tried to push myself beyond my current boundaries wherever possible. This piece, while not incredibly 'contemporary' sounding I suppose, in some ways represents the culmination of my efforts and explorations while at this institution. I've pushed my harmonies and chord progressions as far as I'm personally willing to right now, and also used some new string techniques that I'd not really explored before. Some of this piece, especially the second half, is definitely among my favourite music I've ever written. I've still kept to my usual style of working with very short bits of material and seeing where I can take them, but this piece is roughly divided into three or four smaller sections which have their own separate ideas as well. I've also become very interested lately in sounds that 'morph' over the course of a single note. Usually, that just means fading multiple instruments in and out on the same note. I feel that this is an area that isn't adequately explored in a lot of the more widely played contemporary repertoire, especially in more amateur-aimed music. This piece will be performed at the start of May by a professional ensemble (including a very skilled concert pianist, fortunately). It'll be conducted, which is why I put the piece in this section. I've put it on Soundcloud as well if that playback is working better than this site for whatever reason. There's a couple of really minor changes between the score and the recording, because once you start polishing the score in Sibelius you often kind of ruin the playback.
  8. Sopran/Soprano: Anđela Todorović /Cello: Mateja Nikolić/Piano: Veljko Nenadić Composer: Veljko Nenadić 22.12.2018. Belgrade Philharmonic Hall, Serbia.
  9. @ComposerMITA wrote a piece a few weeks ago based on a concept of lines which function relatively independent of one another and which also change 1) tonal centers and 2) modes every couple measures. It sounded like an interesting experiment, so I thought I'd give it a whirl. I-dunno, I don't hate it exactly, but it sits with me the same way that free jazz and 12-tone music do. *shrug* It's definitely a good exercise in modes, in part writing, and in trying to make each line work on its own regardless of the others. The original project requirements call for no thought given between the lower two voices and the upper two voices, but I must admit to breaking that a little - if it was possible and convenient to the line, I definitely gravitated towards tones that worked relatively better with the other parts! Viola! - erm, I mean VOILA - c'est mon "chef d'oeuvre". Gustav
  10. This is an original composition by me Christian "Cj" Rhen featuring flute, clarinet, trumpet, violin, cello, and piano. This will be performed at various events and professionally recorded by me for competitions and college apps. Tell me what you think. Instagram is @wind_player1
  11. Mikebat321

    Emotude

    Hi guys here's a 9min preview of my new piece Emotude for Piano & Cello. Full 16min recording is available at https://mikebat321.wixsite.com/michaelbates, also soon released on iTunes, Spotify, Amazon etc. Hope you like. Thanks! https://www.youtube.com/watch?v=Zyh0E8JI-yw
  12. I use an electronic loop as an element to provide atmosphere although it's more chamber work than electronica. I've cranked up the piano click intentionally. If you are scratching your head after hearing this, 'that's different', or 'hmm', then I have succeeded.
  13. Unfortunately, the first movement is unfinished 😉 1 Adagio- Allegro comodo (unfinished).mid 2 Andante calmo.mid 3 Menuetto.mid 4 Andantino (Double Variations).mid
  14. Okay so here's my first kind of 'major' piece I've written for my degree. It'll be performed by a professional ensemble in May, and I'm sending off the score this week. The brief was to write a piece of maximum length 12 minutes, for an ensemble of maximum size flute/clarinet/perc/2 violins/viola/cello/bass. After a bit of agonizing over what on earth I would do, I did what usually works for me and just sat down and put some notes out to see what happened, and then went from there. The piece is kind of loosely following around a character as he explores a world. I haven't put too much more thought into the precise story than that, except that the first movement is introducing the character, and the second and third are two little adventures of his, with the third ending in his triumphant return. I kept a fairly light tone throughout, which seems to be a common thread for all my compositions. Some of my tutor's suggestions that I put in were expanding the first movement slightly, experimenting with string harmonics, and just some general score tidying. He liked the ending and I do too - his comment was that it sounded like something a composer might have written a hundred or so years ago, but in a good way. The piece is fairly tonal, almost to a fault at times, so mostly my concerns were with trying to keep it as fresh and interesting as I could, in my own ways. Mainly, that involves trying to vary up my chord progressions and harmonies. I had particular fun towards the end of the second movement where I literally was just putting in whatever I felt like in the strings. The title has no significance whatsoever, except that I wanted it to evoke something childlike and innocent. I originally had 'Tinky-Winky' instead of 'Timmy' but my tutor thought that was going too far, and it would seem like I was going for a jokey piece, which was not quite my intention. Recording is a slightly dodgy/quirky/stuttery Sibelius output but it's mostly okay.
  15. Another piece with not much in mind but trying to be free and expressive for background music. I also have new software by Spitfire which i'm obsessed with. Feedback and criticism welcome.
  16. My submission for the Winter Competition. It was written pretty hastily over the past week or so, after previous attempts for the competition didn't pan out. All things considered, I liked where it went in the time that I had to write it. I hope you enjoy it.
  17. Hello all, I am putting the finishing touches on a work for solo cello which utilises several extended techniques and have been struggling to find a suitable Italian term for one. The passage in question requires that the bow be drawn over the strings with less than the usual pressure so that the sound is thin and glassy (mostly upper overtones are heard) rather than the normal full tone of the instrument. It is supposed to be in the usual part of the string and not close to the bridge so ponticello would not be the correct term. Flautando came to mind but I have always understood this to require playing over the fingerboard and producing a pure tone rather than the slightly scratchy effect I intend. Can anyone suggest anything? My best attempt to coin a term is graffiato but would prefer to use something more widely understood to mean an specific technique. Attached is a sample of what I am trying to describe.graffiato sample.wav
  18. Hello everybody! Here is a little piece written for an assignment with the theme ''Self-portrait''. I was assigned the cello as the instrument to write for. The duration of the piece had to be approximately 1 minute. The piece shows my most obvious characteristics: I am full of energy, but I can also be very still and I can be driven by my emotions quite a lot, haha! The Russian title of the piece Меня зовут Мартен is, because I notice that Russian composers like Stravinsky, Shostakovich, Prokofiev and Tchaikovksy inspire me a lot. What do you think about the piece? Any comments on the cello writing too? Thanks for listening! Maarten
  19. Mikebat321

    Emotude

    Hey guys, just a short snippet of what Im working on atm, Emotude for piano and cello. It's still rough around the edges, but Its gonna be epic, about 30mins long. Wish me luck! Mike
  20. Hey everyone! It's been a very long time! I first joined here around a decade ago, and never stopped composing! I've since moved to Sweden from the US, and am studying composition at a conservatory here. I wanted to share my first big project from last term, where we were to compose for a chamber ensemble of fantastic musicians (Norrbottens NEO, in case you're interested). As first years, we weren't on their actual recital and were encouraged to write music as difficult as we wanted and try new things. Unfortunately, their percussionist was ill on the day of the rehearsal/recording, and we only had about an hour each to rehears and record, so it didn't turn out as great as I had hoped. It was still an awesome learning experience, and given a few more hours of rehearsal I'm sure it would have turned out great. In lieu of that, I'll attach both the midi and the recording, as well as the score. The ensemble is for flute, clarinet, violin, viola, cello, piano, and percussion. Instead of writing one piece, I decided to write four short movements, each one exploring a different idea. The first two are played as one, and explores some cool scales (double harmonic major as well as a fully diminished locrian), the third movement deals with time signatures/rhythm (and, seeing how the percussionist that was there that day was sight reading, I think he did fantastic), and the fourth movement was to see how much I could have acoustic instruments sound like synthesizers in a dubstep-like movement. Obviously it's a finished piece, but any and all feedback would be welcome! I hope to be posting here more and getting to know the new people as well as catching up with the old ones :D
  21. A piece I wrote one day during the summer holidays. https://youtu.be/IPhrPxi4l8Q
  22. Hi everyone, Here's a short piece for piano trio I wrote over the summer. Let me know what you think and things I should keep in mind for future pieces. A clearer PDF score is attached below. Thanks! J Shu
  23. Hello! [Partly the description in the program booklet and youtube video] Maarten Bauer – Melodrama No.1 ''The End of His Story Started Here,'' Op. 45. 11th of August 2017 Dedicated to all the victims in concentration camps during World War II. The music begins at circa 2:00 On the 18th of November 2017 (one of the) most prestigious composition competition(s) in the Benelux took place: Prinses Christina Compositie Concours. I submitted my Melodrama No.1 ‘’The End of His Story Started Here’’ and to my surprise I won the first price of competition! I cannot express my gratitude for the judges, the performers (Trio Burlesco+) and the audience! Furthermore I would like to thank the other participating composers for the amazing experience and relaxed atmosphere during the stressful day. Description This melodrama uses the poem, which I have written in 2014 (see the text below), based on John Boyne’s astonishing book The Boy in the Striped Pyjamas. This composition is composed for the Trio Burlesco and a soprano and a percussionist (Trio Burlesco+). The text and music strengthen each other, so none of the two can be omitted. The innocent soprano is both narrator and singer and she symbolizes the actions, the emotions and the thoughts of the main character in the poem: Shmuel. Shmuel is a Jewish boy, who has just arrived in Auschwitz, which is called Out-With by Boyne. He does not know where he is and he cannot find his family, consisting of his father, mother and his big sister, whom I called Anat, which means ‘singing.’ The motivation for me to write such a heavily-weighted piece, namely an innocent young boy who will probably die in a Nazi concentration camp, is because I noticed that people in my surrounding realize less and less that freedom and peace are not obvious. It is the greatest gift that we can live in freedom and peace in the Netherlands. I noticed that this important consciousness gradually drains away by the years. Therefore I wanted to compose a piece, which remembers us that we have to be grateful for the lives we now live and that the indescribable terrible crimes may never be repeated. When I wrote the poem, my tears flowed. When I composed the Melodrama, my tears flowed. And now again, my tears flow, because this may never happen again. Never. https://christinaconcours.nl/alles/9667/
  24. Hi everyone! I wrote this piece, "Penumbra", at the request of a teacher, and I liked how it came out. The inspiration musically was based around progressive rock and jazz fusion structures and harmony. I have only a little experience with clarinet and cello, so I'm not sure whether all of the fingerings are ideal. I'd be very grateful if any players of those instruments could give me feedback on that. Penumbra.pdf Penumbra.mp3
  25. This is my first post on this forum, I am looking to get some feedback on a piece I have been working on recently. The chord progressions are of constant structure, non-diatonic major chords, switching to non-diatonic minor chords for the second section. Be warned, I am a big fan of dissonance; if it's too much for you please don't hesitate to include that, I sometimes go a little over the top after listening to the same thing over and over, and I don't realize until later. euphoralgia.mp3
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