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  1. Fantasy Two -- part 1.mp3 Fantasy Two -- part 2.mp3 Przyjazna - Fantasy Two.pdf Hello all, I thought I would share my sketches of a new orchestral work, so called "Fantasy Two" for the time being, after an older work of mine titled "Fantasy" that I feel it bears similarities to. I wrote the section in the second audio file before the first, but I would like to fit it somewhere in the middle of the piece if it isn't tedious. I have definitely not polished the dynamics yet and could refine my harmonies. Any feedback on what I have so far and suggestions on what direction to take this piece in would be greatly appreciated -- I am a bit stuck. One concern I have is that I might be building too much tension and emotion too quickly. Would you agree? Thank you! ~ Gwendolyn (formerly MissCello)
  2. Hi guyyys, hear is my abomination of an action Theme. I only used free VSTs and I had to compress the file quite a bit, so the audio might suffer a bit. (Also sry if my English is bad, it´s not my native language.)
  3. One of my first symphonic/orchestral compositions. Please don't be shy and give an honest feedback. Constructive criticisms are very warmly welcome. Also can anyone suggest me some theoretical topics to master for orchestral/large ensemble writing?
  4. So, I'm sharing my current project here mainly out of a textural concern that occurs around the 2 minute mark. It's not that I don't like the texture or feel it lacks any compositional/orchestrational merit -I think it's quite strong to be honest. My concern is that I'm not sure how to take this texture. The idea of the prelude to this suite for orchestra is to present a theme from each of the suite movements -which this does well. However, I'm concerned that the ending is a bit aurally new to the ears -even if we take minimalist standards. The setup occurs with a duet between the oboe and clarinet which lays the groundwork for a steady pulse by the winds, followed by a tightly spaced cluster chord in the winds that gradually rises in volume and chromatic intensity till the trumpets punctuate the texture with 4 notes in succession (echoed by horns an eighth note apart). This rises in volume until the full orchestra holds the final chord to its loudest. I love it -but what I'm afraid of is that the landscape is difficult. It took me a few days to start the 2nd movement. Is it too intense? Is the texture too new? Should I rewrite the prelude? EDIT: Forgot to mention this is scored for chamber orchestra (,2 horns, 1 trumpet, Timpani, Strings) -the score isn't final yet! POSTEDIT: Added the second movement for some clarity.
  5. So, I'm looking for commentary and opinion.... I've decided to begin another Orchestral work -in the hopes of having one around to submit to competitions in the future. I've decided that I want to create an orchestral tone poem depicting the creation as mention in the book of Bereshit (Genesis). My take is a multilayered approach that includes incorporating concepts derived from Quantum Mechanical understanding of matter from both the macro and microcosmic understanding. Thus, it's going to be a rather large scale work in scope that incorporates many different compositional techniques which I've already begun sketching out. Anyways, what I'd like to glean from others on here is your own personal takes on Haydn's Creation. Also, if any of you have any other works that deal with the topic of creation.... please share in. Haydn's Creation
  6. Hi everyone! Here is a piece that I wrote called "The Dream-Quest of Unknown Kadath", it is inspired by the novel wrote in 1927 by American writter H.P. Lovecraft. I wanted to describe this weird winded-dream in which Lovecraft plunges his character Randolph Carter into. I've used some weird and unusual progressions and ambient sounds through the piece to try and describe this strange and dreamy universe of the novella. Any feedback from composition to production is much appreciated!
  7. You may need to turn your speakers/headphones up, i've been having some problems bringing my mix level up. Let me know what you think.
  8. Hello, I am the composer for my artist project "Vivintinn". I create Orchestral/World/Electronic music with the aim of making storytelling compositions. I have most of my published works on Spotify for ease of access. I would love to connect with other composers and hear what other people think of the music, the production, the song structure, the storytelling component, or any other tips you might have. I will note that the music I create is primary for listening enjoyment and breaks some rules rather than following traditional music theory. I've attached a mp3 of my most recent single, but I would love if you also checked out my other compostions via the Spotify link. I hope to hear back from you all soon! Spotify:
  9. Hi everyone! I wanted to share this piece that I wrote called "Enchanted Forest", isnpired by the music for fantasy games. I wanted to describe a dangerous walk through an enchanted forest. I chose to represent that by having the melody and the harmony not stay in one key, but rather switch between different keys and modes, as if the melody "got lost" in the forest. Any feedback on everything (from composition to mixing and mastering) is appreciated!
  10. This is my first time making this kind of music so any comments and feedbacks are appreciated!
  11. Hey, first song I am sharing here, I hope you enjoy and PLS feel free to give me some feedback. YT: https://youtu.be/l2XwqvFK540
  12. I have started a long term project related to the planets. Now, my projects are basically divided into short term and long term. Short term projects are those for which I set a deadline(or in composing competitions, deadline is already set) of 2 months or less. And then there are the long term projects for which I don't expect to finish for at least 3 months. Full string quartet would probably take 3 months for me to compose at minimum. Full Symphony is still in the 1+ years range, though I feel like I'm getting more capable of achieving it and my compositional dream, the piano concerto, with every passing month, since I compose daily and have gotten to where orchestral writing isn't so overwhelming. Anyway, back to the planets. Unlike Holst's suite The Planets, I'm doing things different in these ways: Writing in planet order, so Mercury is first and not third as in the Holst piece I'm including Earth and Pluto in my piece This is the biggest difference, my piece is based on the physical aspects of the planets, not the mythology of the gods of the same name But there are also similarities to the Holst piece, namely that it is a suite for an orchestra and that each movement has a different instrumentation. Jupiter will be the most dense in instrumentation and I think Pluto will be the most bare in instrumentation, with Neptune, Mercury, and Mars also being relatively bare in instrumentation. I'm working on the Mercury movement right now and I plan to use 2 distant keys, 4 sharps and 4 flats along with other characteristics to differentiate the hot, daytime section from the icy, nighttime section. This 2 sections of extreme contrast being unified is related to the fact that a solar day on Mercury = 2 Mercury years. Here are some characteristics that will differ between the 2 sections of the movement: Degree of rhythmic complexity -> Hot section will have more rhythmic complexity than the Icy section Instrumental density -> Not necessaraily the actual instrumentation, but the density of it will be less in the Icy section Harmonic dissonance -> Hot section will have more harmonic dissonance And here is how the instrumental density will change in the Icy section: Strings go pizzicato Piano becomes more melodically dominant(in the Hot section, it's mainly for a rhythmic and harmonic purpose) Woodwinds more dominant Possibly forgoing the horns, or at least keeping them quiet(they blend better with and provide more fullness to the woodwinds at quiet dynamics I think) And I know the glockenspiel can give an icy tone. In fact, when I do hear an icy tone in music, it's usually one of 2 instruments at high pitch, Piano or Glockenspiel(more often Piano than Glockenspiel). And I have used this high pitch piano = icy or wintery feel on multiple occasions. But should I have the glockenspiel in the Mercury movement or save it for the Saturn movement? In the Saturn movement, this appearance of the glockenspiel will represent the glistening icy beauty that is Saturn's rings. Should I save it for just that movement though? After all, some other movements will have an icy tone in part of it, namely Mercury as already stated, Mars, possibly Jupiter(if I include the Galilean moons that is), Uranus, Neptune, and Pluto. On the other hand, with possibly the exception of Pluto, it isn't very glistening like it is with Saturn's rings, just cold. And in Mercury in particular, I'm wondering if the addition of glockenspiel will bring the extreme contrast too far for it to sound unified in any sense. And yet, I feel like having Saturn be the only movement with glockenspiel in its orchestra is somehow wrong when 6, possibly 7 out of 9 movements will have an icy tone in at least part of it(only movements guaranteed to not have this icy tone are Venus, which will sound like Hell has ensued, and Earth, in which I plan on striking that perfect balance to get across that it is the only planet with life as we know it). So, what should I do? Should I have it in Mercury? Introduce it in Mars or Jupiter? Save it for Saturn and possibly Pluto?
  13. I wanted to dedicate a piece to a loved one, so I composed a waltz in piano. Then I met with an orchestra composer to help me orchestrate it. Please, I would love feedback from this community. It is full of people who can give me their PoV and tell me for example "Trumpets louder would sound better in this part; or make this section softer". It is composed of 4 waltzes. The pattern is: 1) D Major; 2) G Major; 3) D Major; 4) G Major; Coda) D Major Thank you so much!
  14. Hi there, here is my piece for orchestra in G major. Youtube link: https://youtu.be/-n2Hc9rTlmk It will most probably become the 1st movement of a future symphony. It's scored for 2 Flute, 2 Oboe, 2 Clarinet, 2 Bassoon, 2 French horn, Timpani, Strings It's in sonata form: 1st theme G major (bar 1-40) 2nd theme D major (bar 41-64) development (bar 65-166) 1st theme G major ( bar 167-200) 2nd theme G major (bar 201-256) I've just purchased GPO5 and still working out the best way to use it with Finale. I've been having some difficulty with strings playing short notes. Just can't hear them! I've worked out that you can assign different instruments to different layers. So I use, for example, Violin KS (GOS) for the long notes and Violin Staccato for quavers. I'll be interested in any suggestions regarding this issue. I've not composed for a while but got back into it because of the pandemic. I've finished about 8 pieces (single movements only). This is the first one I've fully orchestrated. The others are also orchestral in nature but have been scored for strings only as I was just getting back into the rhythm of things. I'll post them in due course. Enjoy
  15. A soundtrack born from a whistle in mind. I imagined it in a menu or a prologue of a game or fantasy film, let me know what you think. https://www.youtube.com/watch?v=hWgl-oEjZcY
  16. https://soundcloud.com/syadeu/stranger I just wrote some epic orchestral starting with synth and foley, still struggling with the transition before becomes aggressive. It takes about 2 weeks I guess? and I do really love hearing you guys feedback! Thanks!
  17. Hi! I'm a seventeen-year-old aspiring film composer really hoping to be able to get into a college for Music Composition. However, I know virtually nothing about composing and I have to have finished compositions to send in. Background: I am proficient at piano (had private lessons for 12 years), and fell in love with film music a few years ago. Now I desperately want to become a film composer but I'm not sure how to start and I currently feel like I'm drowning in everything I don't know at the moment. : ) I'm using MuseScore and I'm hoping you guys can tell me what you think about these ideas and how to improve them. None of them are finished, but they're literally all I have at the moment. Thanks! Theme_Practice.xml Rhapsody for String Orchestra.xml College_Application_Piece.xml Test.xml
  18. Hello, as a composition exercise, I tried to reharmonize and orchestrate the famous 3rd movement of the sonata n°11 by Mozart, the rondo alla turca, or Turkish March. Only the upper part of the melody has been kept, and it has been kept unchanged. I tried to propose diverse musical moods. The very first part was intended to be performed by SATB singers but for audio quality reason, I replaced it with a Woodwind quartet (electronic instruments) https://www.youtube.com/embed/26Srn1p3zYw What do you think about the harmony ? EmotiveScores
  19. Sometimes a new composing project can drive you nuts. Momentarily I have to deal with one of those. I can’t put my finger on it, but something is wrong. Something is missing. Something doesn’t work. Which is really frustrating. I guess there are many strategies to get out of these situations. One that often seems to work for me, is studying work from others. Doing a remake of an existing score. And that is just what I have done this time. A remake of a small piece of the Polar Express Suite! If you would like to remake this piece of the Polar Express Suite yourself, you can download the midi-mockup of this project on my Patreon page for free: https://patreon.com/gh0stwrit3r/
  20. Hello everyone, I am eager to join the forums and check out everyone else's work! I just posted my first original orchestral track, Protector of Light on Youtube. Please take a listen and provide feedback! This utilizes orchestral sample libraries only, but I plan to incorporate live recorded instruments into future works. If anyone likes the music, please subscribe. I have many more songs in the works! https://www.youtube.com/watch?v=QsPGNgYxtuI&feature=youtu.be Kind Regards, StarCrypt
  21. Hello everyone! I'm Norbert from Hungary and want to share one of my pieces with you i've written 5 years ago. I included a little backstory for this piece about how i made a little "Fiverr Orchestra" to play my piece which i mixed in with Note Performer 3's samples. Please read it before making any comment, because context matters! Thanks for listening! Enjoy! : ) (I also included the original midi files, along with the recorded live files and also of course the final mix with score. Also i'm not promoting Fiverr in any way as i stated in the pdf, i just wanted to give credits to the musicians involved, because they deserve it!) Here's the link for the midi version: https://drive.google.com/open?id=1CaRCS_8gdb49YOsqAAbKMmhM5eFNbEUC
  22. Hello everybody ! Me and my friend Alexandra Fojtyik, made a cover of this beautiful song from Game of Thrones. Don't hesitate to give any feedback that you think would be necessary ! Thanks for listening ! :) https://www.youtube.com/watch?v=nCtoL6AUtYg
  23. Hey Youngcomposers! Been a part of this community for years, and I'm so glad to see it's still growing! I wrote just a little adventure piece with some Celtic influences. I hope you enjoy it! I had a ton of fun writing it. Edit: I also threw this piece with some other ones on spotify. Feel free to take a listen! https://open.spotify.com/album/5I1tcYvpdeea9p3MQ5nrOQ?si=juYyyaajQVKWafkLuKM21Q
  24. This is the first Waltz I ever have composed. It's in a kinda oriental sphere written. Would love to hear your opinions 🙂 https://youtu.be/8EPBmkm0vos
  25. It's a planet earth-y style orchestral piece. I've got my own theories, but fresh ears are always a huge plus! Don't hold back:
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