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Found 35 results

  1. Hello, i'm new on this forum. I would like to share my lastest composition. It's the first movement of my 2nd piano concerto, composed in A minor. What do you think of it ?
  2. This piece was begun while I was still studying in Prague. The instrumentation is a straight-forward ode to the Baroque-style of concerto writing, having a more intimate, chamber feel. Moreover, I wanted each of the movements to say both something of the country, as well as recount one of my own memories from my time there. Each movement is therefore a dedication to a particular figure in Czechoslovak history and they move in chronological order (beginning with its independence from the Austro-Hungarian Empire under Masaryk, c. 1918). The first movement recalls a November hike in the outskirts of Prague, where it is far more rural and moderately hilly. I was with a couple of friends and we walked the path until we ended up getting lost, having taken the wrong turn. The music reflects this by consistently ‘losing its place’ and becoming diverted: phrasing is often truncated, the rhythms hesitate in precision, and the oboe frequent reaches to it's higher register in swooning melodies. The piece in essence depicts the Bohemian woods, which are culturally very important. For this reason, I chose Masaryk – the first Czechoslovak president and a symbolic ‘father of the nation’— as the dedicatee for this movement. The second movement is for pacifist teacher Přemysl Pitter, who aided young Jewish, German, and Czech children who were prosecuted/abandoned during and after the Second World War. My professor – who was transfixed on American Quakers and pacifism – had a particular affinity for Pitter, and we visited his house in Žižkov. The piece is primarily tranquil, though the central section is spritely and dance-like. The final movement is dedicated to the first president following the fall of the one-party system in the Velvet Revolution, Václav Havel, who was a playwright. During the communist rule, he was imprisoned several times for his political activities and his writings (via Samizdat). The music is frantic and, at times, scattered, with bits of material struggling to shine through. In essence, sections of the music are ‘censored,’ and themes from all three movements are combined as the music continues.
  3. Hi all! I'm new here, and I really wish I'd discovered this community much sooner! I love classical music but, as a violist, my largest complaint has been the lack of stirring, cinematic viola concerti. Well, what's a composer to do? So here's my stab at a full-length viola concerto. I've named it Yfirsést (pronounced ih-ver-syest), the Icelandic word for "overlooked," and an all-too common feeling among violists. This is the first movement, and it resounds with the struggle of overcoming mediocrity and being seen for what you are. (I couldn't tell you what composer it sounds like, because to me, it sounds like me. 🙂) I appreciate your feedback, and especially taking the time to listen! I'll upload the second and third movements (along with the scores for all 3) later.
  4. Hi Everyone! My friend recently asked me to write a double bass concerto for her! She told me that she wanted it in G major; I said I will write it for her but the problem is... I HAVE NEVER WRITTEN FOR SOLO DOUBLE BASS IN MY LIFE!!! Can someone please tell me how to write for double bass. Things like scordatura, chords, do's and don't's will greatly be appreciated! (By the way, this concerto is in a classical style so instrumentation is early classical as well.) If you want me to upload it, let me know! Thank You!
  5. 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!!!
  6. This is a piano concerto I am composing now. I will succesively post remaining movements. The second movement is a slow siciliano, in my feeling it's a bit too short but when I think what I could add, I don't have any ideas :/ what do you think?
  7. Hi sorry haven't posted for ages, been busy! Here's the 2nd Movement of my Piano Concerto. I composed it when I was younger, but decided to re-work it. Will be uploading 1st and 3rd movements onto youtube soon. Hope you enjoy. https://www.youtube.com/watch?v=YVs3_spSBD8 Mike
  8. This is a piece of which I am very proud. In part, it is dedicated to the city in which I am currently staying -- Prague. This is more than likely my most complex work (structurally), and I hope to use this piece as a learning experience. Here, the viola acts as the leader of the orchestra, which experiences a tremendous journey that spans more than 30 minutes in a contiguous manner. I have included an analysis and I hope that you enjoy!
  9. This is my first piece in italian style and generally my first concerto (I don't think it's succesful), I write mostly solo music. What do you think? What do I have to improve?
  10. 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!
  11. The is the opening of my first organ concerto, which I have subtitled Il Festival, Italian for The Festival. What do you guys think?
  12. Hello, I wonder how the sound from 0:00 to 1:00 is produced on the piano. Schnittke uses the term con amplificatore which means with amplifier. It almost sounds like some gamelan instruments. Thanks!
  13. Hi everyone, After receiving positive comments of my Piano Concerto Mov.1 , I have decided to write the proceeding movements of the concerto, which serves as a challenge to myself. I have long for writing a slow, romantic movement for a concerto and so, in contrast to the 1st Movement, the piano solo has more melodic parts here. How is the work so far? Is the string prologue too long? Btw, I am still trying hard to add woodwinds and brass as I am more familiar with strings, so I may add it later. Thank you for your comments:) Regards, HoYin
  14. Hello. Posting some old works that was performed some years ago. Concerto nr. 36 in the late Italian baroque style, written to my better half! Sadly I lost the recording from the concert, so this recording is from a rehearsal. For me this second movement of this concerto is the most expressive slow movement I have written. I. Allegro II. Adagio III. Vivace (La danza dell'amore) Please tell me what you think! Performed by new baroque ensemble 2016.
  15. My first timpani concerto, written almost a year ago for a friend of mine who wanted something new. I apologize for the third movement. It's written that you use a superball and cymbal bowing on the timpani but of course my program cannot replicate. If you encounter one of these sections feel free to fast forward (there's a lot of silence) until there's actual written material. Enjoy.
  16. 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.
  17. Hello I'm writing a piano concerto and I have got to the cadenza. I am stuck with what to do with it. Do they have certain distinguishing features and do they have to be in the tonic key?
  18. Hi Everyone:) This is my latest Piano Concerto No.1, written for Piano Solo and String Orchestra. Currently, the Concerto only have 1 movement, Presto - Vivace - Presto - Allegro. (Please tell me if you want me to write 1/ 2 more movements:D) This is my very first concerto of this kind, and I am tempted to experiment the balance between Strings and Piano. I also attempt to use some chromatics and implement my favourite tuplet-against-duplet rhythmic pattern throughout the piece. Not sure if both techniques are appropriately done? This is my first time writing excerpts for Solo Piano, and I think I made it feasible as possible? Will it be too easy for a pianist to show-off? (I suppose someone will say so:P) Also, what do you think about the music in general? Particularly the development? Thank you! HoYin
  19. Hello everybody! I just finished my Piano Concerto No.1 ''Octaves'' in f minor. The Concerto consists of only one movement: Allegro con brio. The music is, of course, written for piano and string orchestra. The goal for me to write this piano concerto was to learn more about how to write for piano and how to write in a more classical, early romantic style. Note that I added some more contemporary elements as well. The concerto is in free Sonata Form: Exposition - Exposition repetition with piano (classical) || Development (many more modern elements) || Recapitulation without the second theme. I ommited the second theme in the recapitulation, because I felt like this theme was already 'mentioned' too frequently. Furtheremore, ending with the first theme sounds fine to me. What do you think about the music? Particularly the development? *The lay-out of the score still has to be done. Piano_Concerto_No.1_''Octaves''.mp3 Maarten
  20. Hi Everyone, I have started writing this piano work including a Piano solo and the string orchestra. I think I have introduced some themes into it, but are the themes insufficiently developed? Most of the time I tend to end a theme too quickly (maybe?) and start another, causing poor connection between them. (For example, mm. 29-30, 69-71, 89-90, 95-96 are such transitions) I don't have much knowledge about "bridging" motives, so I sincerely ask for some suggestions for it. Is the harmony good too? Any other comments are appreciated:D Thank you! Regards, HoYin
  21. I have composed a melody and put it into a waltz. Now I think that it would work really well in the bassoon as part of a concerto. Should I use the same melody twice?
  22. In an effort to embarrass and hate myself even more, I present to you my first attempt at a piano concerto just 3 years ago. It's heavily based off of the Ravel Piano Concerto since I was still working under established formats at the time. While it's nice to see I'm infinitely better than I was in a relatively short amount of time, it still fills me with rage and contempt to see pieces like this that I've done. I truly hate it. I hate seeing it, knowing there was a point I thought this was acceptable material. It's a little longer than most things here since it's all 4 movements in one file, but I'd appreciate any listen throughs of it. Note: The first 14 or so seconds of the file are empty, but the concerto is there.
  23. This piece was written as a commission for a pianist in a school I used to go to. It was written pretty quickly and is based on the Hans Christian Anderson version of the story, not the Disney version. It gets weird in some places but I hope you all enjoy! (And sorry it's kind of long, haha)
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