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Showing results for tags 'harp'.
Found 27 results
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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)
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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 reflective, highlighting the harp, and ends with an unadorned quotation of a kyrie. The fourth movement is the most vivacious in the set and is an energetic dance reinforced with numerous repetitions. The final movement is a serenata (or, serenade), which is similar in concept to the opening "alba," though a serenata occurs in the evening, thus demonstrating the course of a day's time; the piece utilizes material from all the previous movements to provide a sense of total synthesis.
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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.
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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.
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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.
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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
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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 enjoy!
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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.
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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
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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
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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
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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
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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 for listening, and hope you enjoy this small piece just a little bit.
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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!
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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, small string section (violoncellos and bassess), flute and bassoon, celesta, and synthesizers (bell synthesizers with a lot of delay). There is no score for this composition yet. Thank you for listening and let me know whether it's harmonically bearable - I did not study harmony yet.
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Peach Scented Whisper (Opus 14, Asian Fantasy no 2)
Guest posted a topic in Incidental Music and Soundtracks
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, but since the midi file had a very wide pitch range (which is characteristic for piano), it didn't gave a satysfying sound. In result, the final product uses traditional, European orchestral ensemble harp. Enjoy and thank you for any helpful hints or suggestions! -
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!
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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; I'm not capable of finding a musician playing a harp to be able to record my music, and I only possess low piano skills. I'm also not pretty sure about the panning and reverb accuracy. There is no score for this composition. I personally think, that this is one of my worst works I've ever completed. Thank you for listening and any helpful hints or comments are very welcomed!
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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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My first orchestral piece finally done! Opus 12 is written for modified orchestral ensemble consisting of : Piano, Woodwinds : flute, oboe, A clarinet Brass : French horn Percussion instruments : glockenspiel, vibraphone, tubular bells, triangle Strings : violins 1, violins 2, violas, violoncellos and contrabasses. and harp. Composition consists of first part (moderato - E major/C sharp minor), second part (F major/D minor) and third part - modified first part. Since I'm a complete amateur high school student, any helpful hints and comments are very welcomed! Score in PDF format coming soon. For more music please visit : https://www.reverbnation.com/mademoisellelilaclucrezia
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Opus 10, Japanese fantasy written for koto. For full album cover and more music click here : https://www.reverbnation.com/mademoisellelilaclucrezia Opus 10.mp3
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Opus 13 written for celtic harp, sopranino recorder, violoncello, viola da gamba, harpsichord, medieval lute and contrabass. For full album cover and more music click : https://www.reverbnation.com/mademoisellelilaclucrezia Opus 13.mp3
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Opus 11, written for piano, flute, harp, triangle, glockenspiel, harp and violoncello. You can take a listen to this piece here :
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Hello, this is my Joropo for harp; I'd like to know how it makes you feel, what impressions it gives you aurally, as a listener.
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Hey everybody! Just wondering if any of you know of any pieces featuring harp and celeste together? I know of several orchestral scores with this instrumentation but I'm really interested in finding some smaller chamber works if you know of any (I'll gladly take new-to-me orchestral scores as well though, so feel free to add them if you know of any). I'm trying to get a feel for the sound of those instruments together.
