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  1. Long time no see! I've recently been composing again and I'm very happy with this one. Structure resembles sonata form: Exposition: 0:00 A is polychords from F, C and G Lydian. 1:40 B is dobled melodies from polychords of G, Bb and Db Dorian. 2:52 C is textures from polychords of B, C and C# Locrian. Development: 1. 4:12 a few A tutti chords to close the exposition and open the development 2. 4:26 A+B juxtaposed 3. 4:58 A+C juxtaposed 4. 5:38 A+B+C tensely juxtaposed 5. 6:33 A+B+C integrated resolutely in a "collective agreement" mode based on E Lydian, ending in a little cello solo epilogue. Recapitulation: 8:14 order C-B-A Using Noteperfomer, warning: still loud but more balanced. Positive feedback revolves around the beauty of the harmony, orchestration and the interesting form. Criticisms I've received are that: It may be difficult to follow because the lack of literal repetition of an entire theme. A lacks a theme proper. The exposition and recapitulation of A and B lack contrapuntal interest. The harmonic rhythm is slow throughout. The lack of other movements I'm creating a version with a larger orchestra considering the criticisms, may even do a theme and variations second movement.
  2. Hi all, I’m looking for composers to contribute graphic scores for a score exchange project. Participants will upload graphic scores and there will be an open invitation for musicians to respond with an audio recording of their own personal interpretation of the score. Submissions should be for open instrumentation only (for any number of instruments), and not for specific instrumentation. You are encouraged to consider shape, colour, size, placement, words etc. Responses may be wide ranging - from digital art, to abstract painting, and video score/animation. Graphic notation can give a voice to musicians who find traditional notation limiting yet have the desire to express themselves through composition. Submission is open to anyone who is interested, not just professional composers. This online space will present opportunities for musicians and amateurs to interact and collaborate virtually. A driving motive behind the project is to bring people together in the time of social isolation. If you feel you need some inspiration, this article is a great place to start: https://www.theguardian.com/music/gallery/2013/oct/04/graphic-music-scores-in-pictures Alternatively, some examples of text scores if this is more your thing: Yoko Ono’s Grapefruit, George Brecht’s Water Yam Pauline Oliveros’ ‘Sonic Meditations Here is a link to the Google Form: https://forms.gle/eVyAo1e6UP1XQqmcA Thanks! Eliza 😊
  3. Ever feel like fallible fleshy humans get in the way of your piano music? If so, this is a solution to that problem: Just remove them entirely!
  4. nicknamed it the Metric Etude. Mainly in E phrygian and E minor. https://flat.io/score/5f328cc6c936572203b428d8-etude-no-1-folia
  5. Hello, everyone. I am new to the forum and decided to share my most recent composition for solo piano in three part sonata form. I am looking forward to your reviews. This piece displays the current evolutionary stage of my musical language - where I'm at regarding expressive capabilities, structure, how I handle development and so on and so forth. I hope you enjoy or at least that it triggers an aesthetical response of some sort which in turn would mean that it has inherent artistic value. P.S. I put a bit of effort in producing a visually appealing score video too. It would definitely help my YouTube channel grow if you like, subscribe or leave a comment there. Petar Dimov
  6. Hello, I am a modern contemporary music composer, what do you think about my new short piano piece called Flying Tears? Feedback is appreciated! Thank you and stay safe
  7. Seaside Dreaming Master.mp3 Hi guys I'm new to this site and I would appreciate feedback on this piece I've composed. Thanks.
  8. Sometimes, you have to mix things up a bit. In this piece, I explore a synthetic scale that I've just had sitting around someplace (cause, yes, I do indeed keep synthetic scales just lying around on pieces of paper). I like the results -so I figured I'd share. Hope you all enjoy!
  9. 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!
  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 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!
  11. https://drive.google.com/file/d/1-Xs1G5fupIjZPYNOiLDBoq7EijalRdUI/view?usp=sharing Recording on the way hopefully.
  12. Hi all, this is my first post here. Was hoping for some feedback on this latest attempt at putting the whole orchestra to work: Peace -Rob
  13. https://musescore.com/user/20408661/scores/5815863 Trying to make sure this is as good as it can be before I attempt to get a live recording for college pre-screening (due dec. 1st), any info regarding my composition will be helpful. Midi percussion sounds bad but not much I can do about it. If there are any formatting errors please call me out, I need this to be as clean as possible. Also should I change the name to something more interesting? If so what are some suggestions that fit the aesthetic and sound of the piece. Thank you!
  14. This was originally intended for a competition, the last of a suite of movements. Each movement had to contain music that was somehow amalgamated in the last movement. Thus it was written first to be able to choose motifs from it for the other movements. A few phrases are deliberately written "sul pont" and others "sul tasto". The suite as a whole was never completed. The date on the MP3 refers to the day I rendered it. Any comments would be most gratefully received - and thank you for listening.
  15. Hi all. I want to get involved in orchestral music, bit by bit. I chose a not large orchestra to write this. Surely, there'll be mistakes. For example, although I've checked it, one of the flute is in a very high register, but a piccolo couldn't do the lower notes of the phrase). I have thought about this piece in terms of color, timber, and sound masses. Please, don't tell me I should have deleted the empty staves because I don't want to do it. I like to see the silence as part of the score. I think I have thankfully been influenced by Brahms, Ives, R. Strauss, Shostakovich, and Gorecki... Dear Masters.
  16. I'd love to hear any thoughts you have about this piece, particularly about the clarity of the piano reduction. Ideally this would be performed a cappella, but it's nice to have a piano reduction for rehearsal or in case the singers need some support. There is some part crossing between the sopranos and altos. It doesn't go out of range for anyone and I liked the way the lines flowed for each part better this way. Any enharmonics you would mark differently? Psalm 133: 1 Behold, how good and how pleasant it is for brethren to dwell together in unity! Thanks for taking the time to listen! Here's a youtube demo video with the score rolling by:
  17. Hello, So, I’ve been experimenting with ways to modernize my classical approach to music. I’ll get into what techniques I used to accomplish this later. I’ll start off with the form of the piece: One piece for piano I love and will likely learn soon is Chopin’s Ballade No 1. I lightly based the form of my own ballade off this one. The beginning and end are in G minor (same for both pieces), but the middle section I chose to make in C# major because of the Tritone relationship between it and G minor. The beginning has an introduction that will lead to the opening theme. From there we get some bombastic octave passages leading into a return of the theme. At the end of the return, we start modulating chromatically and growing quiet until the piece suddenly bursts into a coda that ends on a Tritone and the C# section begins. The middle section is very classical and lyrical, but as it progresses it gets more modern and dissonant. Near the end, we return to g minor and transition back to the main theme. Then we have one last great coda until the soft end. The techniques I use: -chromatic modulation -modulation based upon physically close keys -chromatic scales -whole tone scale -a lot of pedal -m2nds, M9ths -Sudden pauses Im trying to find the balance between these as they’re the techniques I currently like to play with. *No sheet music yet because I have not gotten a change to transcribe audio. *sorry for bad quality of audio. https://drive.google.com/file/d/1yov_wpfmD-jMqJsn61l_r6V1hjN9utOC/view?usp=drivesdk
  18. This is a work for SATB Choir and Piano that I wrote in 2017 for a competition. It's a moving work, and I would love to see it performed someday.
  19. Hello. This week I decided to write for 3 winds. It's was pretty hard challenge for me, because I'm a piano player and I'm used to harmony. It was hard to write but I did enjoyed the process a lot and I got some nice ideas (maybe later I'll expand it and rewrite for larger ensemble). I don't like the musescore midi sounds so in a few days I will record myself on piano just for fun (to get some real vibrations 😄) and upload here. Comments and critiques are welcome! 🙂
  20. Hi everyone, please check out my new work for Large Ensemble and Voices. Give me your feedback after see the video, link below. SULING TEU SILUNG FINAL MOVEMENT (2019) <- Click Thank you guys! 🙏
  21. Hey there, Here is another piece which I have been working on this semester! I really need to come up with a fun title, so if anyone has any ideas, please share! Also, I am happy to hear any comments on this work. It is in four movements, and I hope that you enjoy each of them (my personal favorite is the third one - 'Largo').
  22. This is the first time in a while that I've written something in swing rhythm specifically, but it seemed to call for it. It turned out to be a combo of contemporary/classical/jazz — I don't think there's a good label for it. I did use sacred geometry in this piece, which I'm doing all the time now, and seems to be working our pretty well. I'm open to any feedback or thoughts you have.
  23. I went over this piece once a teacher I had (on counterpoint) told me I should notate the different tempi for each instrument. What do you think? The world of polyrhythm-polytempi is wide. This is a canon in prolatio where every line is the same at different ratios.
  24. Hey guys. A couple of weeks ago I was just listening to some music, and a piece came on that I really enjoyed, but I have come to lose the piece and its composer. I've tried everything to find it, but to no avail. It would be wonderful if anyone could help me out if they happened to know what piece I'm talking about. I CAN give a little information about the piece that I've been using to search for the piece: It had multiple movements. It had a male narrator and a female singer. The subject matter had something to do with either one of the World Wars, but the piece was not written in immediate response to the war. Its newer than that. The title may have contained something about a train, but of that I cannot be certain. If anyone knows what I'm talking about, it would be great if you could respond because I really liked the piece. Thanks, Charlie Carroll
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