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Found 33 results

  1. This as an experiment into complex forms: Being based on the Five Classical Canons of Rhetoric, the second of this set is disposition. This piece is designed to outline the thought process by first taking raw information (pizzicato entrance), organizing it into a series of fugues (each being progressively more resemblant to the theme running through the set, the "thesis" theme), until the material is combined to create a satisfactory product (having resolved all issues of synthesis, then the end section) to be used in the overall metaphorical "oration" (i.e. the intent of rhetoric). I have more detailed an explanation attached, as well.
  2. This is a piece of which I am very proud. In part, it is dedicated to the city in which I am currently staying -- Prague. This is more than likely my most complex work (structurally), and I hope to use this piece as a learning experience. Here, the viola acts as the leader of the orchestra, which experiences a tremendous journey that spans more than 30 minutes in a contiguous manner. I have included an analysis and I hope that you enjoy!
  3. Trying to recognize and reject the concept of sonata form by presenting transformations of the same motif's in a continuous dynamic every-changing cycle. Looking for constructive feedback... https://www.youtube.com/watch?v=LlarRvohpI0
  4. Staying in Prague (which is in the heart of Europe), I used the Romani people and their culture as inspiration for this very short piece, that is in a dance-like character. I was approached by a Gypsy soothsayer whilst here, and this encounter inspired me to write music. The material is short and concise, and it borrows influence from Central European nomads as such. I'd love to hear your input and enjoy!
  5. Hello everyone. It's a rough few months for me in a lot of ways, so this is really the first piece I have put up in a while. I don't often talk in the forum, as I usually just post. Anyway, here is my first, proper symphony, my Op. 41, and it is about my stay at Dublin last spring. I loved my time there, and I plan on returning soon. It is in four, semi-programmatic movements, and the whole piece is about 40 minutes. I really wanted to share it with everyone, so let me know your thoughts and criticisms, which I always appreciate. Thanks!
  6. Hey, guys! I’ve taken a bit of a break from the site, but I want to share some of my music with everyone. This is a “novella” for flute, clarinet, and bassoon, so termed in reaction to the narrative quality of the piece, as well as the episodic vignettes that occur throughout the work. I finally feel more comfortable with my own, personal style and musical voice, and I am quite pleased with the result. I would love to hear your feedback on what you hear – e.g. the difficulty, the duration, the technique involved, etc. – so that I might be able to thoroughly improve the piece (especially since I am always learning)!
  7. Inspired by the second movement of. Messiaen's Quatuor pour la fin du temps, as well as my first time writing anything remotely in a modern style. Ternary form with a break in the B section returning to temporary traditional harmonies. An experiment in dissonance, bitonality, chromaticism, and quintal harmonies. And yes the English is bad for a reason. Comments and critique welcome!
  8. I wrote this for a 48 hour composition contest in Seattle. It did relatively well! The performers misinterpreted some of the markings but they had such a short time to learn it, I understand why that could have happened.
  9. Hey, guys! I just finished work on the first movement of a new sonata, this time for oboe and piano; it was a quick two days. I was first planning a piano sonata, but I shifted my mind over to a duet like this instead, a form in which I enjoy writing the most. The sonata, I plan, will have three movements, and this is only the first. It has several main key areas/significant harmonies, and all of them are in mm. 30- 31. This is a piece with a story-without-words, with many motifs depicting the motions and movements of the eponymous frogs and of flowing and dripping water. While much of the music could have been conceived of in 6/8, the music finally transforms starting in the frog dance at m. 156, wherein first the meter changes into the easiest conceptualization of the original music, then it shifts from duple into triple (i.e. the oboe's introductory line), and finally back into compound duple as its final transformation, all the while taming the bombastic eccentricity of the previous material, as well as the shifting harmonic language and chromaticism. Let me know what you think! P.S. The type-facing is elementary and it will be adjusted in the final drafting process, when the following movements are done.
  10. Here I have a short piano piece that I have termed as a 'pastel,' a term I find to fit well (especially with the heavy sustain and blending used throughout). I have had a particularly difficult time composing solo piano music; and, for this project, I recorded myself improvising. I was happy with the end product, so I transcribed the piece from the audio. Before recording, I had a general idea that I wanted to depict a color, so, to begin, I merely envisioned the color blue, and I played. Like my recent projects, I found a painting by Georgia O'Keeffe -- "Blue, Black, and Grey" (included in the score) -- that I think matches the music well, and that I feel coincides well with my original thought process. Being improvised, it is very much reminiscent of "stream-of-consciousness;" though, while I played I attempted, at least, to follow different melodic, harmonic, and otherwise motivic fragments in mind. Nonetheless, I am interested to hear your thoughts on a relatively unformed area of my compositions. The audio I included is my improvised session, from where the audio was transcribed, and I wanted (as well as I could) to preserve the liberative quality by use of abundant time signature changes, which almost add a moment of pause for the performer (as though they were composing themselves). My ultimate goal is to complete a set of similar pieces, all on my perceptions of different colors.
  11. Here is a short piece for flute and piano entitled “aquarelle,” a French term used for watercolor paintings. The inspiration for the term came from Frederick Delius (a favorite composer of mine), who used it for two of his chamber pieces. For me, the term helped me better envision what I intended to depict – a study of the sky (which itself was derived by the watercolor that I paired with the music by J. M. W. Turner). The piece is divided into three clear sections – the first and last being very similar – depicting the passage from open sky to clouds back to the open sky above the clouds. In the first section, the piano has a brief introduction, which is meant to flow like a gentle breeze, before the flute sets a gentle melody on top of it. The second section is a view of the clouds, which come and go like giants, flowing from one to the other; at the end of this section, grace-note figures in the flute part are introduced to resemble the flapping of a birds’ wings fighting through the clouds. The final section is back to the soaring melodies from the first section, now with the grace-note figures as a constant image. The piece ends abruptly with the flute, just how gust of wind might blow at full force only to die away suddenly. Like all my recent chamber works, I am going to try to obtain a recording of this work. Wish me luck, and I appreciate any comments, just as usual!
  12. Hello, everyone! Here is a short piece I wrote this week for English horn and piano based on a poem of mine; the poem is simple, and motivated by image (a writing style of which I am very fond). I have termed the piece as a “fantasy,” mostly due to its free-flowing form and structure; if I were to expand on that, it very much conforms to an introduction—caprice format. The piece coincides with the poem, wherein a young boy is wandering about a savanna plain, playing, and comes to a rest in a dense, gum-tree grove. Here, he begins to fall asleep next to a cool brook – which was hidden by the trees – and he begins to imagine capricious pixies and fairies dancing around. Section I – the introduction – is serious and flowing, shifting from 4/4 to 6/8, and it depicts the oppressive summer heat and the haziness of the powerful sun; section II – the caprice/dance – is playful, light, and in 7/8, introducing intrigue, enigma, and a break from the heat. Overall, it is a relatively short and simple piece, and I will hopefully work on a recording of it, along with my clarinet sonata (after I ruminate all your comments, of course). The English horn is one of my favorite instruments (in part due to its warm and low register), and I really wanted to work on a piece for it. I have attached a watercolor by one of favorite painters, J. M. W. Turner – “On the Washburn,” that I feel pairs with the set well. I’d love to hear your critiques, and thanks for listening!
  13. Hello, all. This is a piece I've been working on for a while for string quintet -- two violins, viola, cello, and double bass (the resources I have) -- and I hope for this to be a multi-movement piece in the future once I have more time to write. This is a quick jig that introduces material that I hope to carry over into other movements. Let me know what you guys think!
  14. Hey guys. I've made this peice and seem to be making a lot like this these day. Does anyone know other dudes who sound like me? Or have any feedback for me? I'm kinda in the dark hear. Any thoughts would be much appreciated. Thanks
  15. I'd like to encourage EVERYONE on here to take a listen to a 24/7 radio station dedicated to promoting works by living composers. Many of the works programmed so far have not had any real performance outside of their premiere. One work, that I know of, hadn't even had a premiere -the broadcast turned out to be its world premiere! The radio station can be viewed here: http://etlux.playtheradio.com We also have a companion website, still in development, that features a program of the works played, program notes for selected works, composer bios, and a forum to connect musicians with featured composers with the goal of generating future performance and commission opportunities. The website can be viewed here: https://etluxradio.playtheradio.com ALSO: I am sponsoring a YCM Forum Competition seeking radio jingles. The deadline is September 15! Get those Jingles written!!
  16. Prelude III: This prelude is more of a meditation, similar to prelude 1 -however, this is non-serial. The basis is the left hand arpeggiation pattern. Hope you enjoy! Prelude IV: This prelude, comprised of only 4 notes, is a theme and set of variations on the opening 2 bars. I tried to keep interest. Still tinkering with musescore -so some of the articulation marks at the ending are incomplete. I'll add those later. Hope you enjoy!
  17. This is just a trifle really. Started these about 2 months ago. The idea is a brief prelude written every morning. The first one plays around with a serial matrix -purposefully breaking the means at which the matrix is used to generate the material for a piece. The second one follows this same purposeful inconsideration of serial technique by juxtaposing the material from the matrix in a particular manner. Again, these two are mere trifles -serious pieces, but really just trifles. Note, I'm just learning musescore. I don't know the full ins and outs of making the scores look professional -so don't bother critiquing that!
  18. Hello, This is my lattest piano work, composed in january. I wanted write an animated piece, inspired by popular music of Portugal, so it is very tonal probably one of the most tonal pieces I made. I would apreciate very much your feedback and I apologise for the lack of dynamics Thank you!
  19. Hello, I would like to share with you a short piece I composed about the train stations in my country. The first measure right hand is the melody used in the station to alert people that a train is arriving, so that's why it's about a train station I would aprecciate very much your feedback, dont stick too much with the "train station" theme, it's just to give a title to the music!
  20. Hello, I would like to share with you a short piano piece I did some time ago. In this work I tried to write with some classical construction with my own ideas, which makes it a not serious piece. I would apreciate some feedback Thank you!
  21. Hello everyone, This is my very first post here on youngcompers. I would like to have your feedback on one of my latest music "broken" which is a very, very short instumental music. This piece is part of my new project called "Non-sense" where I try to push music to the absurd and unbearable levels, but still maintain a musical structure. I hope you like it! For more pieces like this visit my blog : http://antimusicale.blogspot.pt/
  22. Prelúdio e Fuga (SAT).mp3 This is a Prelude and Fugue for recorder trio (soprano, alto and tenor). I composed it for a trio (which was a quartet, but one person gave up) I would take part in, but then the whole group "ceased to exist" without a single rehearsal with everybody (= 3 people). The Prelude and Fugue continues to existe, but now without a concrete destiny. Hope you enjoy^^ OBS: I changed the VST to flutes because Garritan's recorder sound is a scream of pain from hell. OBS2: I didn't put dynamics, articulations or anything else because I'm lazy.
  23. So, I'm reposting old stuff because they're somehow gone. This is one of them. Enjoy^^
  24. Blissful Morning (Opus 15, classical version) written for piano, flute, violoncello, and a little dose of synthesizer in the finale. Originally, I planned on adding a toy piano sound, but unfortunately my software (Logic Pro X) doesn't have one. Instead of that, one of the syntheiszer leads has been added. The piece is written in F major entirely. I was trying to not jump too much in the rhythm sections or harmony, since my music teacher advised me to try to stick to one idea - sometimes less is more, and ideal doesn't mean perfect. If you like this version, please check out the electro one available on this site too! Thank you for listening, any helpful hints and comments!
  25. Here's a little piece of music for piano based upon a poem which I had previously written (attached below). Let me know what you think!
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