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Found 36 results

  1. 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/ettelson.html Entries may be scored for one to five performers plus conductor. Performers shall be drawn from the core instrumentation of the ensemble Ninth Planet (one player each): flute/piccolo/alto flute clarinet/bass clarinet trombone electric guitar piano violin cello double bass Scoring may include one or two instruments not listed above, including voice(s) and electronics, but must include at least one member of the core instrumentation. There is no limit to piece length. Entry deadline is Jan. 19, 2020.
  2. 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 structure is ABA'. 2. Allegro Con Fuoco: This is the movement so far that I've spent the most time on -and this is revision number 4. The opening two bars introduce an ostinato pattern that is taken up by ALL instruments within the quintet. This movement is meant to be faster than what I have set. I've slowed it down to give more attention to detail. 3. Adagio Semplice: To compliment the 2nd movement -and in stark contrast texturally- this movement is more of a mediation and prayer-like movement. The movement is slow and contemplative. At any rate, I'll post the final 2 movements once I've finished them. Hope you all enjoy these experiments.
  3. 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!
  4. 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 what you think of it, any reviews are welcome, especially the critical ones.
  5. 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
  6. 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 laptop arrives and I can get Sib installed again. Until then, I've done my best in adapting to Flat. It's not a bad notation software (though the midi sucks). My apologies! Hope you enjoy!
  7. 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...?])
  8. 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!!!
  9. Hi all 🙂 Here's a new piece (adagio) to test EWQL Symphonic Orchestra's 4 violins and 3 cellos sections. Just let me know 🙂
  10. 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
  11. 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
  12. Prelude.mp3 Prelude.pdf A short prelude for marimba and flute.
  13. Short piece for three woodwinds.
  14. 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.
  15. 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
  16. 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.
  17. Aure_liano

    Ballade

    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!
  18. What instruments are in a standard String Quintet, Sextet, Septet and Octet. Is there a standard instrumentation?
  19. 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 came from Rautavaara’s Cantus Arcticus, subtitled Concerto for Birds and Orchestra, in which Rautavaara incorporates tape recordings of birdsong’s in northern Finland and near the Arctic Circle. In “Le Jardin”, I transcribed the call of the cuckoo and used it as a leitmotif for the middle piece. In “Dawn”, at rehearsal mark A, flute 1 plays a bird song like melody which at rehearsal mark B, is imitated by the rest of the woodwind. This imitation at B represents the birds calling and responding to each other as well as the animals waking up and the day beginning. For the third piece, I wanted a contrast to the first two pieces. I decided to write a light, humorous, polyphonic piece and ants seemed like the clear choice. In “Ants”, I have the melodies enter one after another, like ants walking in a line.
  20. 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
  21. 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!
  22. Hello, this is my second post and my most recent music on the theme Non-sense. This is not to be taken seriously but as a musical parody, I aprecciate if you give me your feedback!
  23. Hello everyone, This is my very first post here on youngcompers. I would like to have your feedback on one of my latest music "broken" which is a very, very short instumental music. This piece is part of my new project called "Non-sense" where I try to push music to the absurd and unbearable levels, but still maintain a musical structure. I hope you like it! For more pieces like this visit my blog : http://antimusicale.blogspot.pt/
  24. First post here so here goes nothing. This work is part of an ongoing project I have entitled "The Cosmos Suite". The project is meant to capture specific aspects of space, primarily seeking to answer the question "What does space sound like?" In this instance, the work seeks to capture the serene beauty as one drifts amongst the star throughout our universe and witnesses the natural beauty of it. The strings provide the backdrop of space and the stars while the horn and trumpet call to each from across the void. The work is scored for solo horn, solo Tpt, and chamber strings.
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