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Found 24 results

  1. Here's a band piece I recently wrote. I originally conceived it as a choral piece based on my own words, but I decided the words were bad and the music might work better without them. The beginning has a bit of that familiar "choral piece transcribed for band" feel, but starting about 30 seconds in, I begin to develop the material in more instrumental ways. I've accepted the fact that wind bands aren't always capable of the same nuances of colour as orchestras--especially in softer, more delicate sections. So the composition itself--as well as the orchestration--is a bit simpler than it might be if I had written this for orchestra. But I hope it's still effective. I'd especially like feedback on the orchestration. Are the contrasts interesting and frequent enough? Does the frequent use of glockenspiel and triangle get annoying or overbearing? P.S. - The sounds are Vienna Symphonic Library - just the basic Special Edition set. SCORE AND AUDIO
  2. Hey all, just joined the forum, hoping for some input on a big piece I wrote a bit ago. I'm hoping to make some revisions soon and am looking at publishing eventually, so I'd be grateful for your input! A score is attached, I ask that you don't share it outside of this post. A Chance Taken is a piece I wrote in my last year of undergrad as an extracurricular project on top of my senior recital and student teaching prep, meaning I've only had a little bit of input on it. It's my most ambitious work to date, a 6-minute piece requiring a full sized Wind Band and an electronics track played on speakers. There's a variety of inspirations that went into this, including electronic, world, and and video game music. A big focus was on getting a lot of use out of three-ish different themes, and weaving them together in a variety of contexts. I'm especially proud of the closing section, which uses all of them at once. I have a VST recording here, which is the best representation of my vision for the piece. There's a lot of little details in there, so I'd reccomend some decent headphones if you have any. I was also fortunate to have the piece read by my university's Wind Symphony, although the recording quality isn't fantastic and we didn't have long to rehearse. I do like to think it might highlight some orchestration/balance issues though. Here's that recording:
  3. Final Draft of a piece that I wrote as a commission for a college in my area. They'll be debuting it in November.
  4. Jelly

    Sunset

    This is my piece Sunset. I have it tagged as a concert band piece as I was thinking about my high school's concert band's instrumentation (although this is not actually 100% it) while I was writing the piece. Originally, I was going to write it for strings, but that didn't really catch on to me. This is the first time that I have written for something other than percussion or piano as it is literally my fourth finished piece. I have actually been going through a period of writer's block (or whatever you call it for composing), and the idea of just writing music and playing around with ideas until something sticks was given to me by somebody I know. Thus this piece was born. It was definitely a weird process and time for me because I usually only start writing when I already have a good idea. Regardless, I like how this piece turned out. As usual, any feedback is welcome. Thanks 🙂 P.S. This is unrelated to the piece, but I am so ready to graduate. #Classof2019
  5. A small concerto (concertino) in a movement. It has a classical style mixed with a "romantic orchestration" It was composed back in 2015 for a 2016 premiere with the High school Concert Band from Escuela Libre de Musica The composition has some novice errors hehe, also I'm conducing, so I apologize for the dancing. I included the audio .midi and the premiere back in 2016 with the Escuela Libre de Musica Concert Band and Angel Cuyar as soloist. As always, feedback is welcomed!
  6. A while ago I decided that writing for wind band was something I wanted to seriously pursue. After a couple false starts this year, I finally got going on a second wind band work (after 'Aviary', which was performed twice last year), and gradually worked on it over the last two months. It's now become my longest single-movement work so far, and I'm quite proud of a few of the ideas in it. I'll soon be sending it around to a few conductor friends of mine to see if anyone will be willing to play it, but I'm pretty sure that someone will somewhere. The score still needs a bit of polishing here and there but I'll leave that for if/when I have to make some presentable parts.
  7. Small concertino for trumpet in only one movement, inspired by Alban's variations. Any criticsm and opinion is welcomed!
  8. So I made this in a state of depresso expresso but i think it came out better than expected. Also this is basically my second orchestral piece ive ever written, so constructive critique is very welcome :D Made this with MuseScore for sheet writing and then produced it in FLStudio with the EastWest ComposerCloud pack.
  9. Hey guys. This is one of my first pieces that I can see really turning into something I like, but I've run myself into a corner. I'd like to see what you think and I would love it if you had any suggestions regarding how to continue the piece. Thanks! Alright, it took some messing around, but I finally figured out how to make my file into an mp3. I hope this one works.
  10. Gregory Carnage

    Dreamality

    Dreamality (2).mp3Dreamality is a combination of dreams and reality put together. Based off of the themes: "Twinkle Twinkle Little Star" and "Brahm's Lullaby", Dreamality shows the process of leaving your perfect dreamworld and settling back into the real one. Please do give me some feedback if you can, I always take every comment seriously so that I can better my compositions. Thank-you, Greg. C.
  11. This is the revised version of my piece "Baron von Munchausen, Or, Munchausen's Narrative of his Marvellous Travels and Campaigns in Russia" for concert band, which I originally submitted for the Winter Competition here. Some changes: I completely replaced the "Wild Boar," "Horse-Taming," and "Journey to the Moon" sections, replacing them with something more thematically tied to the rest of the piece; I added more "connective tissue" between the sections of the story to give it more cohesiveness; finally, I added some instruments and spruced up the score/notes quite a bit. The sound quality may be worse than the original, since this is just the raw MuseScore mp3 export, although some things (like dynamics and accents) will sound clearer. @Adrian Quince, I know you were interested in hearing a revised version -- although I know you've done quite a lot of work reviewing my pieces lately, so no pressure!
  12. Adrian Quince

    Stargazer

    Stargazer - Score.pdf Hi all, Here's my entry in the Winter 2017 competition. It is titled Stargazer and written for concert band. Here's the story: We begin with a young sci-fi fan looking up at the stars, imagining the possibilities they hold. His gaze darts from constellation to constellation, contemplating the characters embodied in each. He thinks about the possibility of venturing out to those stars one day and setting foot on a strange new world. As sleep comes, he closes his eyes and suddenly finds himself aboard a spaceship about to rocket away from the Earth. As the ship travels towards the stars, he feels the freedom of flight. Soon, they reach a strange new world and he is asked to explore it! He journeys out into the rough landscape, searching for new life. Following a faint glow, our young explorer enters a cave and finds a beautiful treasure. He studies it and decides to take it back to the ship so the others can see. With explorer and treasure safely aboard, the ship leaves the planet. It soon enters a strange realm, haunted by the spirits of composers. It is the place from which musical ideas emerge. Musical fragments drift around the ship half-formed, waiting to be brought forward by a composer. Soon, though, the ghost of a particular composer comes forth and there is silence. The ship shakes, rocked by a shockwave. Our young explorer looks up to see an alien ship attacking. The battle has begun! As he maneuvers the ship, the captain has our young explorer man the weapons. The ship rocks again and again as the two vessels trade fire, but our young explorer’s aim is true and soon the attackers are driven off. Feeling victorious, the captain orders the ship to resume course. Quickly though, they discover their alien pursuers are back as the ship is rocked by another hit. Once again on the weapons, our young explorer delivers a crippling shot to the alien craft, driving it off for good. The crew of the ship enjoys their moment of victory while the captain determines where they should go next. Our story ends as the ship, and our young explorer, depart for their next adventure. Hope you enjoy it!
  13. This is an outline for the first of a 3 small movement concert band piece. There's really no info about it, I'm just in the mists of writing this and I want to get feedback and suggestions. Feel free to comment on this! Thank you
  14. BRODE - Baron von Munchausen - Program Notes.pdf BRODE - Baron von Munchausen, Or, Munchausen's Narrative of His Marvellous Travels and Campaigns in Russia.mp3 BRODE - Baron von Munchausen - Revised Score.pdf Here's my submission for the Winter Competition. It's a playful take on the German tall tales of Baron von Munchausen, written for concert band. It's my first serious attempt at writing for this ensemble. Any feedback is always welcome. Enjoy! EDIT: A revised score has been added; many thanks to Adrian Quince for the pointers.
  15. A Piece I wrote for band This piece is based upon the writings of the Book of Ruth in the Old Testament. This story of love starts off with Naomi saddened by the death of her husband, and then the sudden death of her sons. The lady Ruth stays by her mother-in-law‘s side as she goes to work. She then meets the handsome Boaz (measure 59) and they immediately fall in love. However, they cannot be wed because according to tradition, she must be married to the kinsman-redeemer (this is the next of kin.) Boaz makes an announcement (measure 97) in front of the council that the kinsman-redeemer shall receive the property of Emiloech (Ruth’s late husband.) He quickly accepts until he realizes that he must marry Ruth and hastily rejects. The estate of Emilech is then transferred to Boaz (measure 131) who in return claims Ruth as his wife (measure 157.) Why write about the Book of Ruth? This very small book in length seems unimportant; however, these two people are the ancestors of the great King David!
  16. Interstellar Horizon for Concert Band is my biggest and most ambitious project yet! It is my first fully completed concert band piece. It is to convey the beauty and danger of interstellar space travel in about 5 different phases.
  17. Hi, this is my first piece of hopefully many I'll be posting here! It's called "Imago" because an imago is the adult stage of an insect and the song reminds me of bugs in an enchanted forest with fairies and stuff. I don't really have a lot of knowledge about music theory, but please don't hold back on the feedback. All comments are welcome! Thanks!
  18. Bogus

    Waterfall

    This was a piece I wrote a few months back. I was experimenting with writing in a major key, since most of my works have been minor.
  19. Gustav Johnson

    Cavern

    Hey! This is a project I did as part of my Quick Write Challenge. I was inspired on a tour of some caves in Kentucky, thinking how nifty it would be to have a performance in such a resonant space. The cave idea transformed into something almost as metaphorical as literal, and hence this was born. Let me know what's strong and what needs to be stronger! Thanks y'all, Gustav Johnson
  20. This was written a couple years ago, and I'm revisiting it with an eye on improvement. The work is based on two themes and different treatments of them. Any thoughts would be appreciated.
  21. AaronForrestCoff

    Shir L'Hodot

    So tbh, I have no files to upload yet, as I have just started this project. I WOULD start a topic in the "incomplete works section", BUT encountered the following problem: because i have just started the project, and just wanted to upload some background info, Notes, etc. to comment on or share or whatever, It wouldn;t let me start a topic there. so here goes. Shir L'hodot, or "song to thanks" is a piece for concert band (with added solo bass and solo cello) which is intended to showcase some core concepts of judaism by painting them in music. Despite the title, it is in reality centered around 3 "prayers" and snippets and segments of their traditional melodies (which have been around for hundreds of years): Kol Nidre (All Vows), Sh'ma (Hear), and Aleinu (Duty). So some background information on each. Note: I am specifically leaving out the k'dushah (Kadosh, Kadosh, Kadosh hashem tzivaot - Holy Holy Holy is the lord of hosts), because it was ripped from the Hebrew about 800 or so years ago for the Catholic Sanctus. REALLY no offense intended to Christianity and Christians, I love you guys all the same, but I would like to keep as far away from those texts as possible within this piece. I really don't want this compared or contrasted to Christian Sacred music, on any level. Kol Nidre: it is a prayer that is sung only on Yom Kippur, has a main theme of judgement and annulment, and specifically represents forgiveness. This theme prevails on the cello, most times that it appears throughout the piece. it is a haunting melody, that is in a prevailing key of D Minor. Sh'ma: it is a prayer that is said every day. Some background before I go into its importance: Jews are forbidden to say blessings in vain. So... when there is a fear that a blessing or prayer is being said in vain (i.e. you think you have already said it for the situation, etc. but are not sure.) you are supposed to follow it up with the line "baruch shem k'vod malchuto l'olam va'ed" which means "bless your name and glorious kingship, which shall abound forever", which in essence annuls the blessing. However, there is one blessing that is of such magnitude, that we are unable to recite it without the additional line in our current lifetimes. This is the Sh'ma, which is a blessing for oneness and unity: "Sh'ma Yisrael, hashem elokeinu, hashem echad" or "hear o' israel, the lord is our god, the lord is one", a core concept in judaism. Aleinu: it is a prayer recited every day which details our duty. The central line/concept is the phrase "V'Anachnu Korim, U'mishtachavim, u'modim. Lifnei melech, malchei hamlachim, ha kadosh baruch hu.", or "and we bend our knees, bow, and acknowledge our thanks to the king of all kings, the holy one, blessed be he". So the way it will be organized within the piece: The piece will begin with a cello solo with a bass pedal tone, the introduction from Kol Nidre, followed by a bunch of original material inspired by traditional semitic melodies. the "flavor" of the piece will change dramatically as it approaches its apex, changing into a fanfare-ish style, where it will play out first as a low brass interlude the melody of the Sh'ma, transitioning into a full-band fanfare of "V'Anachnu Korim". It will then descend back into a flowing minor feel, followed by a decrescendo to the end, with a pedal in the 1st trumpet and polychords in the middle and low voices. A caesura, then another phrase from Kol Nidre, solo Cello, followed by a final minor chord, pianissimo. Let me know what you think of the ideas. --- Aaron Coff
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