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  1. Hi everyone! This is my first attempt at a string quartet. It is the first movement of a larger string quartet that I intend to make in D Minor. It would be nice if you could review it and leave some feedback. Thank you! (really sorry I only have the midi mockup, haven't got it performed yet) link: https://youtu.be/yVSecRZSyCg
  2. Here is my new piece, a Piano Chamberto (Chamber concerto), for Piano, Oboe, Clarinet, Horn and Bassoon. This has been a long project, my most ambitious piece to-date in terms of complexity - I'm really glad to have finished it at last! 🙂 The goal was to use a format similar to Classical-era Piano concertos, but with a reduced set of instruments. Please let me know what you think! Dan
  3. A two minute score for chamber, written to accompany underwater and coastal footage. Hope you like it! These are fun to put together 🙂 Would welcome any and all feedback!
  4. “You have no chops!” Those were the illustrious words by my professor, Bright Sheng, during only my second lesson with him. I was speechless. Who was I though to argue with this award-winning composer? I had to be humble and just learn. Then the unthinkable happened. The Composition Department chair, William Albright, had suddenly died. He was key to me being accepted into the program. A great composer, a wonderful person, gone. It was only the third week of school. Amongst the big shuffle of students in the composition department, I was then switched to Prof. James Aikman’s st
  5. Ninth Plant New Music is excited to announce the 35th annual Suzanne and Lee Ettelson Composer’s Award. An award of $1,000 will be given for a new chamber work. The winning work will be performed in the San Francisco Bay Area during Ninth Planet's 2020-21 concert season. Works not awarded prizes will also be considered for programming. This award is excellent for young and emerging composers! Past winners have included now prolific composers such as Mason Bates, Jennifer Higdon, and David Lang. For details and to enter, please visit our website: http://www.ninthplanetmusic.org/ettel
  6. I started this quintet with the intention of entering this into a competition -so, I've been working pretty intently on it (to the point that it's all I think about). Here are the first 2 movements: 1. Andante: The first movement serves as a sort of introductory movement. The movement utilizes the short two bar theme presented in the opening (this theme also permeates large portions of the work as a whole). The theme is presented in all voices, leading to the establishment of a 'hopefully' hypnotic pattern -through which I play with the theme and introduce contrapuntal material. The
  7. Hey all, I am working on a collection of small pieces, preferably 5, based on short stories (hence the name). I made a rough draft of the first one and was wondering if it was an idea worth continuing. Any comments would be helpful! (Just added multiphonics to the trumpet part, anyone know if the part is playable/ how it would sound in real life?) https://musescore.com/user/20408661/scores/5815887 Thank you!
  8. The piece is based on a European version of the second part of a Jewish Chant called "These Candles". It is said on the holiday of light which is... in about a month and a half from now. Titled "a Prayer for a Light Long Forgotten" the piece is meant to take the listener into a dark night on a pagan ancient tribe, a night in which from darkness, by prayer, grows a big light (say, they light a great bonefire and dance around it). Thus, I try to make the piece go from darkness to light using scale, chords colors, register, tempo etc. Please listen and tell me wha
  9. Hey everyone, Here is the piece I composed this semester for my composition lessons at university. It's about 18 minutes long, so if you only want to listen to and review a small portion, that's totally fine. This piece is still under revisions, so any feedback is welcome. Thanks! https://www.youtube.com/watch?v=C2Z780ZKZIY
  10. There's so much to be said -with sometimes not enough time to say it. The same is true of music. So many ideas, and yet... we're left with so much longing after each piece. This is the idea behind this work. The ideas are pretty basic. There's some dabbling in serialism, free atonalism, combining tonal systems with serial rows, and a little more. NOTE: The scores aren't that well done. I'm using Flat (a free notation software) since I can't install Finale or Sibelius to my chrome book -and I am moving the pieces from paper to there. I'll be updating the scores once my new lapt
  11. 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...?])
  12. This is a piano Concertino that was premiered in December by a Chamber Orchestra composed by young artists. I couldn't record the event but I have a midi rendition. Any feedback is welcomed!!!
  13. Hi all 🙂 Here's a new piece (adagio) to test EWQL Symphonic Orchestra's 4 violins and 3 cellos sections. Just let me know 🙂
  14. Work in progress! Well... so this year is my graduation recital and I wanted to finish with something "big" (Yeah, some weirdly restriction that limits the amount of musicians we can have on the recital) Scored for a chamber Orchestra. Every comment is helpful! 1 Flute 1 Oboe 1 Clarinet 1 Bassoon 2 Horns Strings
  15. Hi fellas, Normally, I only write music for piano. It’s the only instrument I have and the only instrument I can play - but recently I have decided it would be fun to take on the project of writing a Piano Quintet to help introduce me to the world of Chamber music. Unfortunately, as I have established, I have no experience writing for stringed instruments and I have no idea how to approach the task. If there are any tips and tricks anybody could give me about writing for strings and for writing chamber music. Thanks a million! James
  16. Prelude.mp3 Prelude.pdf A short prelude for marimba and flute.
  17. Short piece for three woodwinds.
  18. This is a tuba concerto with piano I have been working on for quite a while. Originally this was meant to span multiple movements but I decided to run the movements together and give it cyclic properties. The sustain pedal on the piano is just holding out on this midi rendering so it gets muddy and the 8va markings cause both staves to move up or down an octave for whatever reason even if I didn't write it like that. Anyways, I hope you enjoy and criticism is welcome.
  19. While cleaning up my various notes and sketches from my computer, I came across this piece I did a while back. I've long been a fan of "Appalachian Spring", and in particular, the original version for chamber. I decided to attempt to use this type of ensemble but added horns oboe to have a full wind quintet. The second horn was for added color. It was more an exercise in smaller mixed group writing for me. Comments appreciated. Thanks Tim
  20. Here's my first serious string quartet, recorded with electronic instruments so the dynamics are displayed very poorly. Separated in 5 small movements, with a backstory in the video description for whoever is interested.
  21. This piece is one of my first composition for instruments. I think the instrumentation is quite unusual: 2 flutes, oboe, 2 trumpets, piano, cello. It is an early composition (I was 18, when I wrote that), but the chords and the melody have inspired me later, so this piece is quite important in my studies. What do you think about this piece? Please share me your thoughts. Thanks!
  22. What instruments are in a standard String Quintet, Sextet, Septet and Octet. Is there a standard instrumentation?
  23. So I wrote this piece little over a year ago and it was my first time writing for harp. If any of you play the harp, I'd especially appreciate it if you could just have a look through the harp part as you listen, just to see if there are any mistakes that should be fixed. Also ... Harp Question: Should I put pedal diagrams in; leave it blank, so that the harpist can work out the best pedalling for themselves; or somewhere in the middle (like maybe at the beginning and at certain rehearsal marks)? Program Note (if you're interested): The inspiration for the piece cam
  24. This is a little sketch that is not in any form or style. If anyone has suggestions and comments, please give them. Thanks! Revision notes: Thanks everyone for the comments. Here's the next edition of it. Again, I'll take any feed back -Thanks
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