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Found 7 results

  1. 9 (online-audio-converter.com).mp3
  2. Hello everyone, I'm new to this site, but it looks like a good place to get some feedback. Please take a listen to the attached piece for string quartet and let me know what you think!
  3. Hey everybody! Just wondering if any of you know of any pieces featuring harp and celeste together? I know of several orchestral scores with this instrumentation but I'm really interested in finding some smaller chamber works if you know of any (I'll gladly take new-to-me orchestral scores as well though, so feel free to add them if you know of any). I'm trying to get a feel for the sound of those instruments together.
  4. How do you name your pieces? How do you decide what to name a composition of yours? Do you decide on a piece's name before you start composing it, after your start composing it, or after you finish composing it? Do you think the name you give a certain piece is important? In what does that importance consist? Does a piece's name influence how it is perceived? How? These questions apply especially to short pieces that may not have a clearly recognized form. They may be called by various different names like bagatelles, studies, etudes, etc. But they also apply to some extent to larger form
  5. Or that have served you as a model to follow in your compositions? If so, which pieces and in what way?
  6. Is Formal Training In Composition Necessary At One Point Or Can One Find One's Way Just Through Practice Composing And Studying Pieces? What do you think? I have scarcely gotten any training and compose as an amateur. I am wondering how far I can go like this. Will I find my way to composing even symphonies, or would that necessitate some formal training? I know that Elgar became a composer through self-study. Would training generate symphonic ideas where none occurred before, or improve one's original ideas?
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