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Found 10 results

  1. Hello, I just discovered the B minor Overture, Op.2 by the Dutch composer Johannes Verhulst. In my opinion, this is a very nice early romantic piece. Score: http://petrucci.mus.auth.gr/imglnks/usimg/1/18/IMSLP463684-PMLP752959-Verhulst_Overture_in_B_minor.pdf
  2. If I'm harmonizing a melody in major scale and in the middle of the melody it switch to minor relative. how I will know that it change to minor relative?. Thank you
  3. Hi, I'm confuse. I want to harmonize Minor scale.But,there is the natural,harmonic,melodic.Please Can you explain to me how to harmonize them and do I have to harmonize each one different then other ones, And why just put at the key signature F#,D#,C#. instead of ad D#,C# next to the notes, Thank you
  4. I need help,I'm really confuse. I heard that C melodic minor scale is half major and half minor, or better it's neither major nor minor. and harmonically it shift back and forward between the major and minor. if it's true, can some one explain to me how to use it....Thank you
  5. Hi all, A friend of mine asked me to write a piano concerto for her - I was already planning one, but now I really began to set the first notes on paper. The early romantic composers' concerti (Schumann, Mendelssohn, Beethoven etc.) have had a huge influence on the piece until now. Sadly enough, I feel I am not able to continue and finish this concerto. It sounds too repetitive and it really bores me listening to it, but also composing. I have reached the capitulation of the first movement. Any ideas how I can recover my motivation of finishing it? I have attached the score and music. Note that this is a rough sketch. Feedback would be nice too! Maarten
  6. Alto Saxophone Concertino No.1 in f minor ‘’Batterij’’, Opus 14 Dear reader / listener, I composed this concertino on the 14th of July for a national composition competition in Holland. The piece is about my black-out, which I had last school year. The composition is originally written for members of the Jong Nederlands Blazers Ensemble (Young Dutch Wind Ensemble) and me as soloist: Alto saxophone; oboe; clarinet in B-flat; horn in F; bassoon. Feedback would be very nice, because I have not received much useful feedback from the judges at the competition. Kind regards, Maarten Bauer (16). Nota bene about the video: We had to practise the composition in less than fifteen minutes, so there are some mistakes. In my opinion it still sounds better than when it is played by a computer.
  7. Hi everyone, first post here. I'm Nizar, I learned to play piano (on a synthesizer) empirically and only by ear through the years. I never took a lesson nor studied anything related to music or composition, so I'm quite ignorant about many aspects. However, I really enjoy the act of creation in music. I never thought of entering a composers' forum, so here I am. I'm extremely curious to get your feedback, it will be much appreciated, starting with this piece : Thank you! Nizar PS : I use Reaper and Kontakt for recording, as Virtual Instruments are 100x better and more realistic than my synthesizer. PS2 : I just bought a Kawai "stage piano" (ES8) last weekend, so the experience of playing is radically different and my inspiration is sky-rocketing :)
  8. Hi.... Back to tonality. These are 4 short and simple pieces part of a cycle about different moments of a day. Two of them use hybrid chords, a sonority I love; the other are in minor mode.
  9. Why do we avoid the augmented second between 6 and 7 in harmonic minor in voice leading? I always get called on this in my compositions, but I use that interval on purpose. It sounds so expressive and pulls so strongly to tonic, why avoid it? It's not like singers can't sing it now. Contemporary singers should find an augmented second very easy to sing. It isn't hard on any instrument. So why? Why do we avoid the augmented second in voice leading?
  10. Hey everyone I have read from a few websites/books that it is a good idea to turn the "Vm" chord into a "V7" chord when you are working in a minor key, so that it points more strongly to the "I" chord. But wouldn't you then be out of key by changing the minor 3rd in the "V" chord into a major 3rd? I don't understand how this works as you would also have to change that note in the melody to avoid sound dissonant, or is that the whole idea? I was thinking maybe you should make that a permanent change for the key? So for example if you are writing in A minor, change the G to a G♯ and keep it that way for both the harmony and the melody? How does this whole idea work? Thanks for your help
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