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  1. I wrote this for fun. Whenever I try to write fugues I don't have the patience to check all the intervals. Also, in this case, the tonalities sometimes get a little fuzzy. What I did was to start from a simple material Subject I and its counter-subject I, written in invertible counterpoint. Answer (subject II) and countersubject II, written in invertible counterpoint. In this way, these parts can work the same up and down or the other way around. And with this, I followed the following scheme:
  2. Hi! I'm a senior in high school who plays piano and organ. Would any composers be interested in composing the finale of a four-movement piece based on a Ukrainian folk tune? My channel and I have been working on our "Symphonic Variations on a Ukrainian Folk Tune" for nearly 11 months. Without being overly political (political works of art tend to get dated quickly), our piece is a gesture in support of the Ukrainians and anyone else working for peace. This would admittedly be a tricky project. 🥴 1. The work would incorporate the folk tune "Long Live Free Ukraine": https://musescore.com/user/40554345/scores/7785305 , which is featured in the other three movements. 2. Also, the finale would need to incorporate ideas from the rest of the piece. This would help provide unity. An example would be the Ukrainian national anthem, one of the main themes of the opening Allegro Moderato. 3. It would be scored for piano, organ, a small SATB choir, and hopefully percussion. 4. The rest of the piece is surprisingly lengthy, so it would hopefully be at least 20 minutes in length to balance. (I do apologize if that seems like a lot.) 5. The work is not a piece of chamber music. We're calling for organ and piano instead of orchestra because that's much simpler. The choral finale would have the "feel" of a large-scale symphonic finale (think Myaskovsky or even Beethoven or Mahler 😳), successfully resolving all the tensions of the previous movements. Think big! Be a "visionary." Imagine that you could somehow resolve all the conflicts in the world through a single piece of music. 6. In addition, any potential composers would need to look over a current draft of the finale by the composer of the first movement. They'd incorporate whatever ideas they might want from the sketch in their composition. If they don't want to include anything from the draft, they definitely don't need to. (The composer and I thought that the sketch was unsatisfactory, but that it did contain a few decent ideas.) 7. I'm still working out what exactly what the choral text would be. 8. I'd be willing to pay up to five hundred dollars through PayPal. 9. The current structure of the work is I. Allegro Moderato (E minor, 13 minutes) [complete] II. Passacaglia (B-flat minor) [still in progress] III. Variations (E minor, 20+ minutes) [essentially complete] IV. Finale (E minor - E major, 20+ minutes) [unfinished] 10. Finally, I've recorded six of the third movement's variations and uploaded them to our YouTube channel, Classicore. I'll finish recording the piano and organ parts within the next few months, and other musicians I know will record the choral and percussion parts. We'll upload the finished project to the channel. https://www.youtube.com/watch?v=u5azSx8mwns&list=PLxww_oRF72uwahVSvXanfLYYHZilGYyMf This is admittedly a difficult project, but I would be incredibly grateful to find a composer to work with! If you're interested, definitely reach out! I'd appreciate it. Sincerely, Dominic Fiacco
  3. Hello! I'm very new to this platform, but I am a young composer who thought I might find some good feedback and interactions here. Here is my first submission; a short little 'aria' for organ that I have been working on for the last couple of days. It is perhaps more conventional, harmonically and otherwise, than some of my other works. I took direct inspiration from Noel Rawsthorne's 'Aria' (which I am currently learning myself) in many features of the piece, particularly the form and structure. A computer playback version will have to do for now, I'm afraid, but I will try and record this myself when I go in to my local church for some organ practice this week. I hope my registration instructions and our imaginations will be able to overcome the registration of this synthesized version, particularly in the computer's conservative interpretation of ritardandos. Any feedback or suggestions are very welcome!
  4. Christmas adagio movement for string quartet and organ ad libitum. It was originally meant as a middle movement of a Christmas fantasia, but I never wrote the other movements and I don't think I'll ever do it, so now I post this piece as a stand-alone piece. In this work I employed melodies and motifs from two polish christmas carols - Jezus malusieńki (violin 1 & 2) and Mizerna cicha (viola). Hopefully the piece will be performed this Christmas
  5. For Good Friday. SAB and cello, or one hand of piano or organ if you don't have a cellist. Choirs always have a harder time finding tenors and basses than female singers, and the problem is worse right now, when so many older singers left due to the pandemic and haven't returned yet. So I thought I would write something with a baritone part that sits right in the middle of the male range. An actual baritone will have a few lovely notes on either side of the range that this is written, but this particular piece can be sung by a tenor without going too low, and also isn't too high for a bass. So whoever you happen to have in your choir, this should be performable, and in normal times, when the tenors and basses together are generally still pretty few in numbers, you'll get a nice balanced sound against the sops and altos. Any thoughts on my cello slurring, cellists? I played violin off and on, but I would love the take of current string players. John 3:16 For God so loved the world, that he gave his only begotten Son, that whosoever believeth in him should not perish, but have everlasting life.
  6. I've always wanted to try writing a piece for organ. Though he didn't write much for organ, I am a big fan of Mozart's organ music and in particular his Fantasy in F minor which inspired this work in terms of structure and the fugal subject which is similar, though otherwise I treated the sections very differently. It is generally organized as a chaconne-like theme and variations in pairs separated by two extended sections (a fugato and a more lyrical section). I had posted an unfinished version of this in the incomplete section and I greatly appreciated the feedback. I also plan to transcribe a version for string orchestra.
  7. This is a piece I started on in Fall, 2020. I sort of forgot about it for a time because a different project took priority for me. However, I want to make a few final changes to this and call it a completed piece. One of the changes will be the title: I plan to call the piece simply "Baptism". This was suggested by my organ teacher. He said it would help to make the piece seem more useful to a church organist as it could be used for any topic relating to baptism in general, not just the baptism of Jesus. I would love to hear if anyone has any suggestions for the piece, as I am about to start revising it.
  8. Long time no see. I was busy with military business, romantic relationships, covid, etc. Now, at long last, I managed to compose a music piece after more than half a year. The piece is based around the coda of the known Bach piece "Toccata and Fugue in Dm", reimagined as a boss fight with three loop-able phases and transitions. Would love to hear your thoughts and opinions. As usual, constructive criticism is most welcome. This piece has no score because I don't think it's perform-able.
  9. Hi, It has been a few weeks since I have posted some of my own content. I have been asked to write a piece for Organ by a friend of mine who intends to play it at a local church. I have completed drafts of the other two movements although I need to add a bassline. Once that is complete I will upload to the thread. The Allegro is mostly finished; I am just completing the recap and reviewing some of the harmonies. The Bass part in the development section and towards the end of the exposition is intended to be more interesting than that at present; I usually produce a simple harmonic draft to indicate which notes I should emphasize and what not. I will say that the harmony in the development section is uncharacteristically "adventurous" against my track record, however I suppose pushing the boundaries is how we learn best. The focus at the moment is providing a bridge between the first subject and the second subject during the recapitulation. Of course, I cannot replicate what I did in the exposition as I would modulate to D. The second subject must be played in the tonic key in line with sonata form and from what I understand, composers simply added some new material for what would be the transition, modulating instead to the subdominant before ending with a dominant chord, or tonic of the home key.
  10. I wrote this little pice these days of quarantine....
  11. Hey there, I'm new to this forum ☺️. I just wanted to put my latest work/composition "The Door Beyond" here. It is a mixture of a few old compositions of mine edited with logic pro to one big song. I am excited what you think about it.
  12. Falling Stars.mp3This is my first dramatic composition I've been working on. What do you think?
  13. This is a short organistic fantasy with many tensions. I hope it can be interesting. https://soundcloud.com/roberto-zini-84021232/organistica-tensione-1
  14. The is the opening of my first organ concerto, which I have subtitled Il Festival, Italian for The Festival. What do you guys think?
  15. My first proper attempt at writing something baroquey. I was wondering, what's the best way to describe this piece, academically speaking. Fughetta, Fugue, Double Fugue, Counter fugue?
  16. This is a half-finished piece I started over the summer on which I hit a wall. It's an organ work, inspired by Mozart's Fantasia in F minor for Organ. There are parts that don't sound quite right but since I've listened to this so many times that now I can't really be objective as to which parts work and which part don't so any honest feedback is appreciated. The score is quite a mess but I've attached it as well.
  17. Hello I am writing a piece for the Pipe Organ and I have some questions: 1. Are these stops possible: Swell = Oboe 8', Great = Principal 8', Choir = Bass Flute 16' Pedalboard = Principal 16'? 2. Can an organist change stops halfway through a piece? 3. Which manuals can be coupled to which manuals? 4. Are dynamics easy to perform on an organ? 5. Where do I write on the score which manuals are being used and the stops used on them? 6. Can more than one stop be used on one manual at a time?
  18. This is a piece I composed this spring. I would classify it as a Toccata-esk organ piece, however when I wrote it I didn't intend for it to be a Toccata. I don't really know how to categorise this piece, I hope some parts of it are quite enjoyable.
  19. 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.
  20. Hello, I've recently tried a new composing style and wanted your thoughts on the results. I basically sat down on the organ and thought of a quick story (like a chase for example), saw what came to my mind and learnt the piece by heart until I was able to reliably record it without making too many mistakes. I've recorded 3 of my attempts, I'm going to give you a quick insight about what they are supposed to capture. 1st example: Supposed to simbolize someone going outside after a very heavy thunder storm, getting onto a train and daydreaming, but the train hits the emergency breaks and the adrenaline induces almost a panic attack, which then leads to him fainting and having another dream, that is more sinister than the first one. Example #2: Someone walking through a very mysterious yet sinister enviroment and then getting chased, basically running until he finds shelter. I find the end to be a bit unsatisfactory, but I don't want to judge my own music. Example 3: I'm not quite sure of this one, but what I can remember that it was supposed to represent someone waking up, and having a sick day. I'd love to know what you think about them. I wouldn't even mind being told every single one is a disaster, as long as I can learn from my mistakes.
  21. Someone on another forum was asking for music for their church treble choir that's just starting to learn to sing harmony. They are good at partner songs and call and response. So this is church appropriate and uses lots of unison and call and response, plus a little bit of harmony. Since it has so much unison it needed a piano/organ part to do some of the heavy lifting harmonically, but I'm not a pianist. If you notice that any of it would require really awkward fingering please let me know! I'm attaching a pdf of the score so you can read along. I think this would also be really nice for treble choir plus women's choir, with the kids taking the first unison section, and then the adults joining them. Or for an easy anthem some Sunday when the four guys in your church choir are all out of town, and all you have are sopranos and altos. Thanks for listening! Here's a youtube with the score rolling by in case that's easier:
  22. Nocturnal creatures on hunt. A music I made for a scene on my game where the player walks through a forest in the night.
  23. This sketch was up to study how to write instrumental accompaniment for a simple chorus, how to write different variations of a melody, and of course, what sequence I should use. The lyrics are from the medieval ages by Albert Csanády, and it could be used as a sentence of a Christmas oratorio, or something like that. Again, I say it's just an attempt or sketch that I upload, and I'm up to get adives or criticism, in order to get the accompainment, the melody or the sequence better, according to classical construction style. Thank you!
  24. Not an especially adventurous work, written in a day and a half for a funeral. I decided to upload it simply because there isn't much in the way of organ music, and the organ is the "king of instruments".
  25. Has anyone else ever composed for organ using MuseScore? Notes aren't always playing back in the correct octaves, but I can't figure out what the pattern is. Sometimes they do. Sometimes they don't. I don't know if this is a bug. (Free software, so there are some bugs.) Or if there is some feature to adjust stops that I'm accidentally triggering somehow that is fiddling with the octaves. (Accidentally altering playback to 12' versus 32' "shake the building to a pile of rubble" octave pipes…) Anybody else run into this problem? I can just compose the whole thing in the piano setting for the sake of getting my chords voiced the way I intend, but then I'm missing the strong sustained sound an organ gets you, and it all feels very dinky. This is a nice bombastic organ fanfare.
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