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  1. Hi everyone! I am a 17 year old composer looking to improve and share my music! I love creating music and leaving my footprint on the musical world :). After a brief hiatus and a sudden burst of inspiration, I completed the second movement of my biggest (yet) composition project - a suite made as an hommage to minimalism. This is turning out to be some of the coolest music I have ever written, and the most proud I have been of my own music yet. If you have not heard the first movement - Groove in 5/8 - yet, check it out on my profile! I hope you enjoy "Amongst the Ocean on a Speedy S
  2. Hello everybody, i am new here! My name is Leonardo and i am 17 years old, i am a young composer looking for some feedback! https://www.youtube.com/watch?v=V5zGgmj1ilY I would like to share this with you, hopefully you have some time left in your day and you could take a look at it! It took me 6 months to make. If you want you can comment under the video or on this site, does not really matter! Let me know what you think 🙂
  3. https://flat.io/score/5eb66ba3bc90cb486315b2ab-in-the-trance
  4. Hello guys. Recently I have been working on a symphony of quite simply epic proportions, and I want to share Symphony - I..mp3it to you for some feedback and advice. You can listen to the symphony at the YouTube links below, and I have also uploaded the score and MP3 in case you want to dive into it a bit more. Link to playlist:
  5. Hello, I am a modern contemporary music composer, what do you think about my new short piano piece called Flying Tears? Feedback is appreciated! Thank you and stay safe
  6. I'm going to post all my piano compositions in chronological order. Numbers 7, 8, 11, 13 and 15 are the best ones in my opinion. 1.-Compositions from youth. (I wouldn't even call this music) 2.-Random piano piece. (Modern I guess) 3.-Variations on a theme (Second piece I show in the video)(Classical) 4.-Katyusha (Variations)(Romantic/Virtuoso) 5.-Musical experiment. (Modern) 6.-Portrait of a dahlia. (Modern) 7.-Memories. (Romantic with jazz) 8.
  7. I was busy working on a project for Euphonium when I got the ideas for this piece. Over the last few days, a week really, I've added and changed stuff. The work slowly expanded from there. When I got the idea, I thought about doing a sonata based on it -but, as my composition advanced, I decided a one movement work would suffice. The form is pretty straightforward -so I won't bore you with the details. I can, however, say I'm happy with this draft of it. The language is very intimate and, I'm sure some would note, there's a sense of doom and resignation in the piece (largely due to
  8. I wanted to build a bit on the concept of the sententia -as the short form was created by @luderart. Thus, I decided to turn towards my solace: the piano. Writing for piano, idk, seems to open me up more to the possibilities within thematic/motivic material. Not sure why... it just does. The third sententiae uses the opening motif from @maestrowick's The Vivid Dawn. Anyways, each of these 'sententia' are no more than 12 measures. I chose twelve due to symmetry. That allows 6 measures for each segment of the idea to expand and contract (allow for some motivic development) while a
  9. My hand at a relatively short miniature form created by another member on this forum @luderart I'll be adding some more here as I develop more confidence in writing these type of pieces. So far, this was an enjoyable exercise in brevity. Love it.
  10. There's a bit of a difference between this sonata and my previous two. For starters, this is probably a more serious attempt at the genre. I've never been a good person to describe my works in non-abstract terms. It is safe to note, though, that various parts of the piece explore septal and quintal harmony as well as a juxtaposition of whole tone tonality amid heavy chromaticism. That said, as I mentioned above, this work definitely seems like a strong development in my overall compositional ability. I'm not sure if there is a bit of maturation occurring or what -I'd be interested
  11. Time is eternal. As sentient beings, we often fail to understand that despite the eternal nature of time, we -ourselves- aren't. At some point, our lights will extinguish -our lives will come to an end. This is scored for a chamber orchestra of one of each woodwinds (1.1.1.1), brass (1.1.1.1), vibraphone, timpani, and strings. Compositionally, this is an abridged sonata form. The exposition lasts for roughly the first minute, the development section lasts most of the work. The recapitulation was shortened to just a restatement of one theme (with textural variation) with coda.
  12. Piano Sonata 1 by Florian.pdfPiano Sonata 1 by Florian.mp3 Hello everyone, I am new to this community and looking forward to engage with everyone in sharing our compositions. This is the first piano sonata I have just completed. It is not in the traditional sonata form, but I tried to implement Theme A and B in different places and cast them under different lights. I especially like the Largo (3rd movement). Any sort of feedback would be highly appreciated! 🙂 Thank you for listening.
  13. Sometimes inspiration comes from different places: a car passing by in front of you, leaves rustling in the wind, the username of a member of an online forum, or simply... it just is. My first sonata was inspired by one of these three things. Ironically, as long as I've been composing, this is my first... complete (well, somewhat, I'll probably renovate some of the movements later) piano sonata. I. Allegretto Grazioso: The entire sonata rests on the motif found in the bass. 5 simple notes. The motif in this movement is treated to development in a type of hybridized sonata form. II.
  14. So this is the first draft of an orchestral piece I'm working on for a submission. The name is just a working title. Some trouble spots: 1. I'm not a brass player at all -thus, I don't feel comfortable writing for brass (save the solo instrument, which I'm fine on). 2. Orchestration was not my strong suit in University -at least not in terms of full orchestra. Tips on how to handle the brass choir and woodwinds would be especially helpful. I'll be updating the wind parts here in a day or two once I figure out which contrapuntal lines I want them focus on leading up
  15. jawoodruff

    Etude

    The idea behind the first part of this movement is the growth of material from one note to its full statement. The clarinet, trumpet, violin, vibraphone, and trombone all play there own material treated in this manner. Each statement introduces a new note to their material. The bassoon and bass provide a sonic backdrop to this unravelling. I plan on expanding on this idea in other works -this was a fun idea to work on. Hope you enjoy.
  16. I started this quintet with the intention of entering this into a competition -so, I've been working pretty intently on it (to the point that it's all I think about). Here are the first 2 movements: 1. Andante: The first movement serves as a sort of introductory movement. The movement utilizes the short two bar theme presented in the opening (this theme also permeates large portions of the work as a whole). The theme is presented in all voices, leading to the establishment of a 'hopefully' hypnotic pattern -through which I play with the theme and introduce contrapuntal material. The
  17. This piece doesn't really expand on the idea of the episode much more than the last one -instead, I develop more attention to the material within the overall structure. Sorry for the rendering, I think the sffz destroyed my speakers!!!
  18. In this piece, I've taken the ideas I had behind the formal structure of my earlier upload, Episode #1, and I've changed it up a bit (largely listening to the critiques that work garnered). I've never been good describing my ideas in detail -long standing trait. Much like Episode #1, this work takes the basic Rondo structure and expands upon it. When I originally thought of the idea for an episodic (rondo-like) formal structure, my original goal was to intersperse the A sections with heavily contrapuntal material (B, C, and D sections all being fugal in nature). While I still may do a wor
  19. Closer to the finished product. This piece is intended as a submission for a music festival -so, I'm trying to make sure it's as close to perfect as possible. I've expanded the second entrance of the slow section -playing around with the ascending chromatic scale alongside a 4 note motive. This work is a bit personal to me in that it is a reflection on life, death, and my own experience of the two (under the lense of bipolar disorder). Hope you enjoy!
  20. 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!
  21. While working on this piano concerto, I have a lot of material that I'm leaving out -and have decided to use in smaller works (particularly for the purpose of keeping clarity in my material for the concerto). This work uses a tone row built upon intervals of the 4th. The opening bar, which creates a ritornello throughout the work, is the full row. Some notes about the compositional processes I used in this piece: 1. The form could be considered a rondo of sorts. The ritornello passage is labeled E. This returns after each 'episode' labelled C. I chose to keep this material identical
  22. This is one of my all time favorite pieces by Gubaidulina. I tend to think of this piece as a good example of how unique and eclectic the composer's voice is in our own time. Gubaidulina takes traditional ideas of the concerto and adapts them to the more modern ideals relevant in our own day. An amazing work. I hope everyone enjoys it as much as I have.
  23. There's so much to be said -with sometimes not enough time to say it. The same is true of music. So many ideas, and yet... we're left with so much longing after each piece. This is the idea behind this work. The ideas are pretty basic. There's some dabbling in serialism, free atonalism, combining tonal systems with serial rows, and a little more. NOTE: The scores aren't that well done. I'm using Flat (a free notation software) since I can't install Finale or Sibelius to my chrome book -and I am moving the pieces from paper to there. I'll be updating the scores once my new lapt
  24. I've noticed there aren't many pieces representing more modern musical styles -so I'll add one of my newer works. This is part of a larger series of smaller piano works (Images). I apologize about the score, I used 'Flat' to input it from my manuscript and still am not used to it. Hope you enjoy!
  25. My latest composition, a piano miniature in G. With some chord progressions i ,,walked'' through some few other tonalities.
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