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Found 8 results

  1. Revisiting old pieces again... as you'll see on the score this was from over four years ago. This is the first in a series of etudes for various instruments I've done. I quite like the harmonic language in this piece, so I might steal it for later pieces... maybe not so arpeggiated, though.
  2. Hi everyone, This is my latest piano work, written as a response to Theory 302a. I am definitely under the influence of Bartok's Mikrokosmos 141, in the sense that lots of reflection techniques and irregular time signatures are used in my work. To further explore the power of reflection, I use floating origins of reflections in each bar, with the hope not to stay in the same key for the same sentence. Thank you:) HoYin
  3. WillRoberts

    Short piano study

    Please excuse the playing on this. If any pianists would like to record a better version I'd be happy to hear from you!
  4. This short little piece was written in response the Birthday Composition Challenge: My instruments came out to be Flute and Vibraphone. I was also inspired a little bit by Luis Hernandez's entry in regards to serialism. This is the first time I've written for this combination, where both instruments are very exposed. Feel free to comment on where I can improve.
  5. A short etude I wrote today while taking a break from larger works. I actually thought it came out pretty nice considering I wrote it in less than a day with is really unusual for me. Score is attached but forgive the untidiness.
  6. Here's round 2 of me trying to compose. Comments always welcome :)
  7. On a whim awhile back, I worked on a set three pieces with the goal that each hand would use a fixed interval to see what I could come up with. I finished two, the first using only thirds and the second using only octaves. I started another etude using sixths, but tabled it after my initial efforts seemed uninspiring. The first etude in thirds is a simple barcarolle which I think would be easy to play. The other etude in octaves, intended to be the third of the set, is a scherzo that probably is unplayable and would break the hands of any performer than tried it. At the time I wrote it, I was studying the piano works of the French composer Charles-Valentin Alkan whose works are notoriously difficult so I think there may have been some influence from that.
  8. So this isn't exactly a composition question but this seemed like the best place to put this on here. I just got back from an audition and I plan to challenge as soon as I can. The incumbent, my directors and I all have to choose some cuts for us to audition on and I was considering picking something I was already familiar with from Cyrille Rose's 40 Etudes for Clarinet so I can focus on the other 2 cuts. I'm trying to decide between no. 32 and no. 35...which do you think would be more fitting and/or challenging for someone who hasn't played them before? If it factors in at all, I'm more familiar with no. 32. Here's a link to a pdf of all the etudes...it's the quickest (and only) thing I could find. Thanks for your time! :) http://petrucci.mus.auth.gr/imglnks/usimg/b/bf/IMSLP29006-PMLP64394-40_Studies.pdf
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