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Found 49 results

  1. This is a piece i made in my free time, i was experimenting with different instruments and forms, as such it's more of an educational composition. Any critique feedback appreciated. youtube link:
  2. Good evening! Here is a short woodwind duet in sonata form I wrote a few years ago with a new video on YouTube, hope you like it! YouTube video
  3. This is my "Soliloquy for Clarinet No. 20". Here is the link to my previous soliloquy for clarinet: https://www.youngcomposers.com/t36672/soliloquy-for-clarinet-no-19/
  4. A piece for two Bb clarinets and one Bb Bass clarinet. Transposed notation.
  5. Hello all, Here is the first movement of my Fantasy in D Minor, scored for pairs of Oboes, Clarinets, Horns and Bassoons. It is written in sonata form, and I tried to share the material between the different instruments. It took me a long time to write - I hope you enjoy it!I - Lento.mp3
  6. jawoodruff

    Etude

    The idea behind the first part of this movement is the growth of material from one note to its full statement. The clarinet, trumpet, violin, vibraphone, and trombone all play there own material treated in this manner. Each statement introduces a new note to their material. The bassoon and bass provide a sonic backdrop to this unravelling. I plan on expanding on this idea in other works -this was a fun idea to work on. Hope you enjoy.
  7. 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.
  8. This is my first composition I wanted to put on here, and my first one I will count (All the others were either practice, arrangements, or incomplete and I wasn't comfortable counting them). So I guess this my Op. 1! It is for Flute, Clarinet in Bb, and Trumpet in Bb. It is very short, but I feel it's pretty okay for me atleast. I tried to make the trumpet stand out so I put the trumpet melody in Bb first, then Eb, then in G twice. For the final trumpet melody, I made the Clarinet and Flute switch from F to G major for a nice ending.
  9. 4) The Magic Songs.mp3 Magic Songs.pdf This post is about the fourth movement of my piece called “Quiquern”. To read about the first few movements and about this piece in general, go here. Fragment 4: The Magic Songs Famished and delirious, Young Kotuko and the girl set out alone into the blizzard to find food for the starving village. As the dark and the cold and hunger devour them, the two children rave and hallucinate, unhinging themselves from the realm of men and into the realm of gods. As they descend, they sing songs of magic, songs buried deep in their memories, in their blood. Their voices rise and fall with the frozen wind. And through this silence and through this waste, where the sudden lights flapped and went out again, the sleigh and the two that pulled it crawled like things in a nightmare — a nightmare of the end of the world at the end of the world. The girl was always very silent, but Kotuko muttered to himself and broke out into songs he had learned in the Singing–House — summer songs, and reindeer and salmon songs — all horribly out of place at that season. He would declare that he heard the tornaq growling to him, and would run wildly up a hummock, tossing his arms and speaking in loud, threatening tones. To tell the truth, Kotuko was very nearly crazy for the time being; but the girl was sure that he was being guided by his guardian spirit, and that everything would come right. She was not surprised, therefore, when at the end of the fourth march Kotuko, whose eyes were burning like fire-balls in his head, told her that his tornaq was following them across the snow in the shape of a two-headed dog. The girl looked where Kotuko pointed, and something seemed to slip into a ravine. It was certainly not human, but everybody knew that the tornait preferred to appear in the shape of bear and seal, and such like. It might have been the Ten-legged White Spirit–Bear himself, or it might have been anything, for Kotuko and the girl were so starved that their eyes were untrustworthy. They had trapped nothing, and seen no trace of game since they had left the village; their food would not hold out for another week, and there was a gale coming. A Polar storm can blow for ten days without a break, and all that while it is certain death to be abroad. Kotuko laid up a snow-house large enough to take in the hand-sleigh (never be separated from your meat), and while he was shaping the last irregular block of ice that makes the key-stone of the roof, he saw a Thing looking at him from a little cliff of ice half a mile away. The air was hazy, and the Thing seemed to be forty feet long and ten feet high, with twenty feet of tail and a shape that quivered all along the outlines. The girl saw it too, but instead of crying aloud with terror, said quietly, “That is Quiquern. What comes after?”
  10. Hi guys! I was just wondering if you had any ideas what bird this piece of music would symbolize. I'm trying to make a musical suite of birds.
  11. 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.
  12. A clarinet tutor at my uni put together a clarinet choir and was looking for a student here to write a piece. One of the lecturers put my name forward because he felt that my style would fit the group well. So, I tried to just write a piece in my normal kind of slightly jazzy style. I did my usual thing of creating a few motifs and attempting to build a whole piece out of them, seeing which ways I could twist them and play around with them. I haven't yet sent it to the group, I probably will in early 2019.
  13. This is my 3rd soliloquy for bass clarinet. Here is the link to the second that I had posted almost 1.5 years ago: https://www.youngcomposers.com/t34896/soliloquy-for-bass-clarinet-no-2/
  14. This is the third installment of my pieces that were previously published here on Young Composers forum but got deleted during the renovation of the website in late April - early May 2016 and that I am choosing to publish again. Those pieces number 181 and I will try to post some of the best of them from time to time. What distinguishes this soliloquy is that, after I posted it, I was asked by a member of YC to choose one of my pieces for members of YC to compose pieces based on its theme. And I chose this piece since it was - and probably still is - one of my most original pieces. This is how I introduced my Soliloquy for Clarinet No. 5 when I posted it the first time back in October 5, 2013: "This is my 5th soliloquy for clarinet. I think it is the best clarinet soliloquy I have composed till now. And I consider it among my best compositions."
  15. 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
  16. On the far side of the village is the Quaggi – The Singing House. Only men may enter; it is where they go to pray. In times of plenty, the men sing hearty songs of gratitude to the various gods of the Arctic. In times of desperation, they fall into a trance of smoke and dark and sweat and hunger. Arms linked, stomping the holy ground, repeating of the same syllables, the great hunters of the village reach for the gods with outstretched arms. What does a 10 year old boy imagine of this place? Banned from entering, just like the women, but knowing in his heart, unlike the women, that one day he will be granted entry into the inner sanctum, a young boy of the village can only guess what goes on inside that large tent. He hears from a friend that the sorcerer sings his magic songs and calls upon the Spirit of the Reindeer, and his songs make the wind blow and the ice crack to reveal the seal below. Anxiety and yearning and fear wiggle through his body. One day he would take his place in the Quaggi and learn the secrets of the hunters. But at fourteen an Inuit feels himself a man, and Kotuko was tired of making snares for wild-fowl and kit-foxes, and most tired of all of helping the women to chew seal-and deer-skins (that supples them as nothing else can) the long day through, while the men were out hunting. He wanted to go into the quaggi, the Singing–House, when the hunters gathered there for their mysteries, and the angekok, the sorcerer, frightened them into the most delightful fits after the lamps were put out, and you could hear the Spirit of the Reindeer stamping on the roof; and when a spear was thrust out into the open black night it came back covered with hot blood. For more on this piece, please visit: https://www.senigaglia.com/tag/quiquern/
  17. This is my "Soliloquy for Clarinet No. 19". Here is the link to my previous posted soliloquy for clarinet: https://www.youngcomposers.com/t34671/soliloquy-for-clarinet-no-18/
  18. The dogs’ meat was taken for human use, and Amoraq fed the team with pieces of old summer skin-tents raked out from under the sleeping-bench, and they howled and howled again, and waked to howl hungrily. One could tell by the soap-stone lamps in the huts that famine was near. In good seasons, when blubber was plentiful, the light in the boat-shaped lamps would be two feet high—cheerful, oily, and yellow. Now it was a bare six inches Amoraq carefully pricked down the moss wick, when an unwatched flame brightened for a moment, and the eyes of all the family followed her hand. The horror of famine up there in the great cold is not so much dying, as dying in the dark. All the Inuit dread the dark that presses on them without a break for six months in each year; and when the lamps are low in the houses the minds of people begin to be shaken and confused. But worse was to come. The underfed dogs snapped and growled in the passages, glaring at the cold stars, and snuffing into the bitter wind, night after night. When they stopped howling the silence fell down again as solid and heavy as a snowdrift against a door, and men could hear the beating of their blood in the thin passages of the ear, and the thumping of their own hearts, that sounded as loud as the noise of sorcerers’ drums beaten across the snow. One night Kotuko the dog, who had been unusually sullen in harness, leaped up and pushed his head against Kotuko the boy’s knee. Kotuko patted him, but the dog still pushed blindly forward, fawning. Then Kadlu waked, and gripped the heavy wolf-like head, and stared into the glassy eyes. The dog whimpered and shivered between Kadlu’s knees. The hair rose about his neck, and he growled as though a stranger were at the door; then he barked joyously; and rolled on the ground, and bit at Kotuko’s boot like a puppy. ‘What is it?’ said Kotuko; for he was beginning to be afraid. ‘The sickness,’ Kadlu answered. ‘It is the dog sickness.’ Kotuko the dog lifted his nose and howled and howled again. To learn more about this music, please visit: https://www.senigaglia.com/quiquern-dog-sickness/
  19. 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.
  20. This piece is called "The People of the Elder Ice." As you listen, picture an Inuit village, alone at the edge of the world, surrounded on all sides by a frozen waste. Survival is a daily struggle, food is often scarce, and the fickle arctic gods constantly toy with the villagers... yet somehow the people thrive. (I've posted this music before, but now you can watch the music as you listen).
  21. 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
  22. 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/
  23. 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
  24. I wanted to make a prettier piece of music than what I usually mess around with and this is what came out. I'm hoping this sounds like C minor, I'm just getting into how to make music sound minor or major or whatever.
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