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  1. hello everyone, I am back, this is my new piece, hope you like it! the video: 【终极完美版】作品5之2 微分音钢琴音乐的开山之作_哔哩哔哩_bilibili
  2. Hello everyone, I am back, this is my new piece, hope you like it. the video: 【微分音钢琴】作品5之1 无标题_哔哩哔哩_bilibili
  3. hello everyone, I am back, this is my new piece, hope you like it! the video: 作品4之4 重复的艺术_哔哩哔哩 (゜-゜)つロ 干杯~-bilibili
  4. this is a piano arrangement of a Christian hymn written by me, hope you like it the video: https://www.bilibili.com/video/BV1Ya4y1p7zh/
  5. Here's a piece I've been working on the past few days, an Adagio in E Minor for solo piano. I've reached the C minor section(that's where the momentum in the bass picks up to the point of me not marking the pedal so it doesn't get muddy). I was aiming for that "stable but not so stable" kind of feeling in the A minor section that starts at bar 40. I've thought of adding a second voice to the right hand starting in bar 17 where the E minor melody is taken up an octave, but I'm not certain if it should be above the original melody, below it, or a mixture of both, I just know that I think it needs a second voice there. There's a chromatic lament bass starting in bar 28 and then the melody comes back in bar 32. Bars 48-58 seem almost chorale-like to me, like I should turn the right hand melody into a string of chords. What do you think of the piece so far? I haven't put in the dynamics yet, but that's because dynamics are one of the last things I add to my compositions followed only by slurs. Notes and articulations come first. I can hear the dynamic arc within the piece and that arc is what I go by when it comes time to add the dynamics. One thing I'm wondering in terms of the pedaling is if I should mark that the pedal is to be absent in bar 62. I mean, I know that sometimes, even without a pedal sempre marking, the pianist will continue pedaling where it isn't marked and bar 62 isn't really suited for pedaling because of the C minor scale in the bass. And come to think of it, how would I mark that the pedal is to be absent?
  6. hello everyone, I am back, this is my new piece, hope you like it and welcome your commentation the video: https://www.bilibili.com/video/BV1LV411S7VX/
  7. Hello everyone, I am back, this is my new piece, hope you like it
  8. this is an album includes 6 lyric pieces I previously wrote, some of them were readjusted to be more pleasant to the ear, hope you like them, and comment them as many words as possible. the video: https://www.bilibili.com/video/BV14A411j7om/
  9. hello everyone, I am back, this is my new piece, hope you like it the video: https://www.bilibili.com/video/BV165411L7yC
  10. Hello everyone, I am back, this is my new piece, hope you like it. The video: https://www.bilibili.com/video/BV1Pk4y1y7UM/
  11. hello everyone, this is my new piece, hope you like it the video: https://www.bilibili.com/video/BV1tA411i7zF/
  12. this is my new compisition, hope you like it. video: https://www.bilibili.com/video/BV1Pf4y1178o/
  13. hello everyone, this is one of my old pieces, a piano arrangement of a Christian hymn, when I was free, I rearranged it and adjusted its sound effect, hope you like it
  14. Hello everyone, I am back, this is my second piano piece of microtonal music, hope you like it!
  15. this is a new piece I wrote, hope you like it! the video: https://www.bilibili.com/video/BV1k54y1X7ez/
  16. Hello everyone, I am coming back, this is my new piece, hope you like it
  17. Dear All, I am presenting my latest song in this post. I finalized it a few weeks ago. I'll be glad if you listen to it and tell me what you think. Best regards, Velvet.pdf Selcuk Ozer
  18. Hello everyone, I am back, this time I'm going to post a piano arrangement of a Christian hymn, hope you like it!
  19. So, I have finished my first minuet and trio for solo piano. Hope you like it :3. I added an harmonic analysis (very roughly). Any comments are apreciated :3. Almost all the minuet is based on this motive.
  20. This is a new revision of the first composition for solo pianoforte from a collection that I am currently writing slowly. I have written the second one a while back. This was my first attempt at a sort of East-meets-West theme. The A section features a great deal of change in time signatures, with an Asian-style melody in G minor. This then bleeds into the B section that is mostly a regular polonaise in E-flat major, before returning to the A section. This is only a rendering using MuseScore3. I plan to record myself playing this piece again soon and upload a video of it as well. Enjoy.
  21. I started writing a suite for Solo Piano with the theme of 12 months of the year. I also am writing a poem related to each month as an epigraph for each movement. This first post will be about the January Movement. I do multiple things to get across the feel of January. Here is what I do and what it represents: Grace notes and staccato: Snowfall Slow tempo arpeggios: Walking through the forest Episodes of G minor and a single episode of C major: Lamentation, like "Oh, when will it warm up? It is so cold out here that I could freeze if I didn't have this coat on. I really hope it is soon." Major key melody in octaves or with full chords underneath(most of the time D major, but other keys are also used): Hope Minor key melody in octaves: Hope is extinguished Major over minor polytonality: The question of if there is hope Trills and/or alternating bass: Shivering, the combination of trills and alternating bass portrays more shivering than either trills alone or alternating bass alone, loud dynamic, even more shivering Fast scale motives of 4 notes each, rising: Wind Gust False ending - Leads into a Coda Pedaled arpeggio across the keyboard followed by quiet chord - True ending of the piece How well do you think I portrayed the cold weather and the feel of the month of January? And what do you think of my January poem that is right above the score? Also, what key do you think I should have the February movement in? Oh, before you can answer that, here is what I am planning as far as keys: January: D minor Other months: Some key trajectory that smoothly takes me to my target December: D major And here are the keys I have thought of maybe having the February movement be in: G major - Major subdominant of D minor A major - Dominant of D minor C major - Unrelated harmonically to D minor, but close in proximity to it(I don't consider the I - ii relationship to be a close harmonic relationship at all) Bb major - Submediant of D minor F major - Relative major of D minor D major - Parallel major of D minor If it helps, here are the keys I have thought of having the March movement be in: D major F major Eb major Bb major I know that I don't want to hit the D major key too early on in the piece, otherwise it might sound like the ending(most minor key pieces I know that end in the parallel major delay the parallel major until the last minute or in multi-movement works, the last movement. And Beethoven, the composer of most influence on me, he sometimes sets up a Picardy Third only to later say "Nope, I'm going to end this in the minor key it started in."(I know for a fact that he does this in the first movement of his Fifth Symphony and the Rondo of his Pathetique Sonata). So, anyway, what do you think of my January Movement of this suite and the poem that corresponds to this movement? And, any ideas as to which of the 6 keys I proposed for the February movement should be the actual key of that movement? Because, that is what I will be composing next is the February movement. I plan for the February movement to have a warm tone(thus the major key), a feel of love, a more obvious melody, and sort of a waltz feel to it(definitely will be in triple meter), there will still be some of those trills and alternating bass to evoke the cold temperatures, but not as many.
  22. hello everyone, I am back, this is my new piece, hope you like it. Op109 Nr12 by Synthesia
  23. So a year ago, I had this idea of composing a suite that would represent different types of weather. I would call this suite Weather Music. But it wasn't until a few days ago that I actually started composing part of the suite. What part did I start composing you might ask? Well, I started composing probably the most intense part of the suite. That's right, I composed the part of the suite that is supposed to represent a storm. I am like exactly a quarter of the way through finishing the piece. But before I even started composing it, I was like: Full orchestra example: Beethoven here is really getting across the feel of a thunderstorm and the calm after the storm with the orchestra here. String orchestra example: Probably the most well known example of a storm represented in music. So well known, that it itself is often called Storm when played without the preceding 2 movements of Summer. There is no calm ending to the music at all. Piano example: Not directly a piece representing a storm unlike the previous 2 but it could very well be interpreted as stormy music because of the tempo and all the octaves. So I had a lot of pieces to go on as to how to get the feeling of a storm across. The only real questions were what key to have the piece in and what to compose the piece for. I eventually decided on piano solo because that is my area of expertise. I mean I am a very advanced pianist and I started composing in my intermediate years, mainly piano works. So it makes sense that composing for piano would be a natural thing for me because I know my abilities and limitations as a pianist. I don't directly know those same things for flute, violin, or any other instrument the way that I do for piano. The only way I know these things for other instruments is by studying the instruments and pieces written for those instruments. This is how come I know that out of all the possible piano-not piano duets that exist, the most balanced is the cello-piano duet. This is how come I know that a forte dynamic in the first octave is impossible on the flute. It has to do with pieces that I have listened to that are written for those instruments and other ways that I study the instruments. But no matter how good I get at say writing for flute, my piano composition skill is likely to always be superior because I get that skill directly from my knowledge of music notation, music theory, and 10 years of experience playing the piano, no studying piano pieces out of context of playing them required at all. Plus I have several other non-piano works that I am working on(namely my first symphony which might take me a year just to get the piano draft of it finished but that's okay) Anyway, back to my storm piece. That was quite the digression there but I just felt like I had to get it out. I decided to have it in the key of C minor because it is very easy for me to improvise in the key of C minor and simultaneously get it to sound very expressive. It is almost impossible for me to do that same thing for C major(which is partly why I mostly avoid composing in C major). And stormy is 1 feeling that is very natural to the key of C minor. In fact, just about any emotion that you can get out of a key is a natural emotion in C minor under certain conditions. Even happiness is a natural emotion for C minor. How I'm getting across the feeling of a storm So 1 thing that I noticed in common in nearly all pieces of music that I would consider to have a stormy character was octaves. But not just any old octaves. No, the octaves I noticed in stormy music were very fast and they were alternating. Very commonly, I would notice that almost the entire bass line is in octaves(as is the case with the Beethoven examples) or otherwise as in the Vivaldi example, the repeated notes in the bass would get across the same feel as octaves would and the octaves only really exist if you combine the bass and alto lines. So naturally, I took these octaves and applied them to the left hand part of my piece and the only time these octaves would be slow was in chords. Even when I state the Fate Motif, it isn't slow, despite being a rhythmic augmentation of the original motif just because of the fast tempo. I so far have done all these things to get across the feel of a storm: Keep up the momentum of the 16th notes except in certain spots to make the entire piece sound dramatic Use a minor key because the same drama would be hard to get across in a major key, even taking everything else into consideration Use scalar passages with unpredictable leaps to represent the strong wind by giving a chaotic feel to what would otherwise be a normal scale. Use diminished 7ths more often than dominant 7ths just to add more drama Use the Fate Motif as a bass line during some of the scalar passages to represent the lightning flash. Use chord progressions to represent the thunder that comes after the lightning(this is what I mean when I say that the octaves are slow in chords) Have the melody in the right hand outside of scalar passages be staccato to represent the rainfall Under the staccato melody, use fast octaves to give a sense of turbulence, which is very fitting for a storm Use stark dynamic contrast between passages representing thunder and lightning and passages representing rain Creschendo to a loud dynamic Suddenly get quieter Presto tempo(mine is actually on the slow end of Presto, at 160 BPM) Here is the piece as it is so far. Sound ends at about 1:25 in the MP3 just so you know. Does it sound stormy to you with all the octaves, 16th notes, and the Presto tempo?
  24. This is the piece I newly composed, hope you like it!
  25. Hello, Please check out my latest composition. Hope you like it.
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