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  1. I wanted to put a sound to my dreams and I feel this piece best suits it!! Leave a comment and enjoy!! Sheet Music: https://flat.io/score/5ed7175b0e11096fbd93d018-lucid-dreams
  2. This is a piece I wrote last week. I have separated the ‘movements’ by one measure long rests, and I understand if that may seem a bit too long; I have made them shorter in my more recent pieces. The reason I named it “Try, Try Again” was because the second and fourth movements reminded me of someone making a mistake whereas the other movements sounded like someone achieving or succeeding. I also included a quote on the last page of the score that I felt went along with the title of the piece.
  3. This piece is only made using chords. This is just an experiment. feedback expected.BTW Inspired from chopins e minor prelude.(op 28 no 4) https://flat.io/score/5ecfa73218c179027f492cdd-warning-cursed-audio
  4. Hello everyone, I have been studying music composition for 6 months over books and the internet but since none of my acquaintances knows about music composition the feedback I receive is null. I would greatly appreciate that you could give me any. I highly recommend listening to the DAW version. I am also a beginner using DAW but still the quality of the sound is thousand times better. There is really many things I do not know and many doubts, so I will be thankful for any feedback! DAW (reaper) version: https://drive.google.com/file/d/1gQuk0ZNcy8HyebqaTo9f492h6I9Ym2
  5. If you could spare the time to provide some feedback on this piece, it would be really helpful. Thanks, CharlesSonatina for Violin, Piano and Harp (Leadsheet).pdf
  6. I composed a new music track. This time with solo strings, solo woodwinds, small percussion, harp, piano and supporting chamber strings. I've tried to accomplish a positive happy energy. I would really love to get some feedback on this one.
  7. Here is a small set of three pieces inspired by different figures in Seneca mythology/folklore! I hope to improve my harp writing, so any tips/advice on that would be greatly welcomed. The colors were used as a reference for myself while composing (I think of music in terms of color), and they themselves allude to the "triptych" I was attempting to create. (The score is left in concert pitch)
  8. This piece was written in Prague for a friend I made there; it is in five brief movements and the inspiration is from medieval Occitan literature. The organization of the movements depicts a "legend," or some sort of story which one recounts to another, beginning in the morning and ending in the evening. The first movement is an alba ("sunrise"), which is similar to an aubade -- a morning love poem --and the piece serves as an introduction to the set. The second movement is more lively and is a poem celebrating the arrival of spring. The third movement is pensive and re
  9. This is my 5th soliloquy for harp. I had previously posted my 2nd, 3rd, and 4th, but they all got erased due to the renovation of the website in early May 2016. I might post one or more of them in the future as part of my repostings of older, deleted pieces. Meanwhile, I hope you enjoy this one.
  10. HARPINATIONS: recent release by ArpaViva of 4 harp compositions composed and performed by Shirley Meyer Blankenship: Metaphysical Waltz, Peace for Guidosan and two works for viola and harp: Fantasy I and Fantasy II with Rudolf Haken, violist.
  11. Hey everyone, I'd like to hear your opinion about this harp tiny piece. I wonder if it's playable. If anyone here knows how to play/write for the harp, please tell me if you think that's playable.
  12. I don't know if you are familiar with the 15 seconds project of Olivia Jageurs, nor do I know whether it is still ongoing, but there is this lovely London based harpist offering to play and comment on a snippet of 15 seconds of harp music. I wrote 3 little pieces for it, one of which even aired on BBC3 The sound files can be found here: http://www.jaapcramer.com/music/2016/01/27/irks.html
  13. Again, I was not sure whether this qualifies for the chamber music or the large ensemble category, but here it is. Powder Peony Waltz is a Viennese waltz written for whatever group of instruments I like (modified orchestral ensemble with ornaments in the form of a piano and celesta). I know that the transition between different keys is extremely awkward and chord progressions are not very fancy, but I was simply asked to write a quick small piece for dance class at my high school for their annual ballroom dance show. I intended to make this sweet, flowery, and light. Thank you for listening an
  14. I would like to share with you my new composition. It was exceptionally painful and frustrating to finish, but I hope that those emotions added a bit of an artistic and melancholic spice to this silly little piece. Enjoy and thank you for listening.
  15. I've recently been working on an orchestra piece, and here is the finished product (first draft, at least). I know some of the transitions could be smoother, and I need to add most of the brass parts still. Any advice? https://musescore.com/randomperson555/stars
  16. I go on learning the harp. I write the pedal changes for myself. I didn't want to write what should play one hand or the other in some parts because I realized there is more than way to do it. Sometimes it all seems a bit awkward because of the needed enharmonic notes. It starts in the key of Cb and later changes to C. So the repetitions are not exactly transposed for that reason. POEMA PARA ARPA - SCORE.pdf
  17. Still getting familiar with harp writing (and pedals). A classic canon Part A in G minor at the seventh (or second + octave) Part B: D min at the fourth down motu contrario Part A': the same A but inverted counterpoint. harp canon - SCORE.pdf
  18. This is very short, I know. The fact is I'm starting to learn about writing for the harp, which is fascinating. I know the notation of the pedal changes is unnecessary but I write them just for me. I love the sound of the harp and its possibilities. For now, I only want to do little pieces that are supposedly right, from the playing point of view. TULIPS.pdf
  19. Guest

    The Ghost (Opus 23)

    Hello fellow composers! I'm leaving you with my newest composition - Th Ghost. It is written for piano, small string ensemble, synthesizers, and harp. I literally have no idea what I was thinking when I was writing this piece. I've never used that much dissonance or vague tonality. Partially I wanted to step back from the usual canon patterns that I tend to follow and do something unconventional. At least I've tried. It is a mostly thematic piece. I also had problems with mixing and changing dynamics/panning/EQ - I absolutely hate Logic standard pizzicato strings... Anyways, thank you fo
  20. Guest

    Opus 22

    Very random thing I made recently, not knowing what's going on actually... I strived for something between instrumental and ambient/free form. I used very low piano keys on purpose, just to make it clear - restricting yourself to only middle range makes everything too crowded and not very imaginative. Plus, I love low pitches, so deal with it! I'm extremely worried about the transitions between different musical ideas. A casual track for sipping warm tea in a cold, snowy day, I guess. Thank you for listening!
  21. Guest

    Nymph's Sleep (Opus 17)

    A small lullaby thing I did for my Music Production (high school) class. The only objective was to produce a piece that will be exactly 2 minutes (my exceeds 120 seconds, but only because of the delay and reverb - I had to leave two empty bars for the sound to go down). I also tried to experiment with the harmony. It's a bit flexible, balancing between C major/minor and G major/minor. I just wanted to get out of the frame of choosing one key and using it's parallel or relative key. On the other hand, I do not want to write atonal music. Nymph's Sleep is written for two harps, glockenspiel, sma
  22. Hello fellow composers, I would like to publish and show you my newest composition - Peach Scented Whisper, inspired by classical/folk/traditional Chinese and Japanese music. The short, easy to listen piece is based entirely on minor pentatonic starting on D flat and in a smaller number of bars - the same type of scale starting on B. The given score is written for piano, since my music teacher advised me to write as much as possible using that instrument (I'm a high school student with no much background in music studies). I intended to use Chinese ruan moon guitar and guzheng patches, bu
  23. Howdy Y'all, Here's a piece I finished back in April. It's been one of my goals to work on my structural construction and balancing. This is one work I think I did well with in that regards, but I'd appreciate feedback from others! Sorry there's no score to go with it yet, it's at my home computer so I'll post it when I get home from school tonight. Thanks!
  24. Guest

    Sword in My Hand

    Sword in My Hand (Opus 16) was inspired by Celtic and Medieval folk music. It was a part of my music production class assignment asking for complete percussion tracks. It was challenging, since I'm completely not a rhythm oriented person, and I think that the rhythm section is the worst part of the composition. Among several other instruments, the piece is played by celtic harp, hammered dulcimer, tin whistle, recorder, lute, irish bouzouki, accordion and string section (violins, cellos and basses). It is written in E flat major with a short bridge in E flat minor. The composition is all midi;
  25. I've recently been researching the harp and have learned things such as the pedaling system, register colors, and idiomatic playing. I've also been exposed to a technique called "pres de la table" which basically means to pluck the strings close to the soundboard. The effect is a darker, edgier sound. I was hoping if a knowledgeable composer or harpist could answer my questions: Is pres de la table an extended technique that should be used sparingly, or is it a color choice that is up to the composer? Also, are there any other "extended techniques" on the harp that I should know about?
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