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  1. 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!
  2. A little slightly more contemporary piece for solo flute that I have been working on for a while. In the first movement, I make use of a ‘filtering’ technique to develop the material; I began the piece by writing out a progression of modes, a few notes altered by a few semitones each time, which I work through to gradually modulate (with some exceptions!). I went for senza misura for this movement as I was looking for a more contemplative and tranquil tone, hence the title 'Penseroso', and to give performers as much space and creative opportunity as possible, which I something I always strive for. I contrast this with the virtuosic and frantic nature of the second movement ‘Scherzando’. I began by planning a sequence time signatures to be repeated, in such a pattern that an audience would be oblivious, to convey this freneticism. I develop this sequence; I designed an exchange in length within the piece of the high, loud, staccato sections and low, softer legato sections, in which the staccato sections gradually grow shorter as the legato sections grow longer, until roughly halfway, when the staccato sections lengthen again, and the legato sections shorten (I hope I worded that clearly enough!). I am particularly pleased with the sudden shock ending of this movement, designed in contrast to the soft a niente’ of the first movement. I managed to persuade a flautist friend to record this for me, and they have done an excellent job. I hope you enjoy the sounds of a real instrument, unlike last time! Any feedback and suggestions much appreciated.
  3. This is my "Soliloquy for Clarinet No. 21". Here is the link to my previous soliloquy for clarinet, composed in March 2020: https://www.youngcomposers.com/t39457/soliloquy-for-clarinet-no-20/
  4. Another classico romantic piano piece with some modern and even baroque elements. I used the La folia progression in the 2nd section and wrote variations on it. The main theme returns in the end but in the relative minor and ends in tragedy. Hope you enjoy!
  5. Created extemporaneously in about 30 minutes during the Christmas season, 2021. Yes, I have been away for a while. Here I attempted to create moments of subtle and not so subtle beauty. I succeeded. Give it 30 seconds or so to get started.
  6. Hello, I present you one of my older works, my first piano Ballad. I Know the recording quality is trash, but I would appreciate if you could give me a feedback about the compositon Here is the link:
  7. Hello together, I recently got into composing and i want to present to you my latest Work, a piano Ballad in E Major. Here is the link to the performance: If you want me to Upload the score, Please Let me know in the comments
  8. Greetings everybody here! The following is another piece of work in the same set as the previous work: Miroirs et Fleur et de Lune. This work is entitled as Jeux, trying to picture a game of light and dark, switching from dissonance to finally a pentatonic scale, a joy atmosphere at D major. This work is finished in a rush, so... there might be a lot of flaws lol, so please comment on my work to help it become better 😀 Imago_III_V_Jeux.mp3
  9. I hope you enjoy this, please leave a comment and tell me what you think! Nocturne in D minor.mp3
  10. Hi, this is a simple piano piece I have composed.
  11. This is an art song I wrote as a setting of an Emily Dickinson poem I rather like.
  12. Here's a waltz I wrote as part of a collection I'm working on. Give me feedback please! This is the first piano piece I've ever put on here.
  13. I thought it would be a nice challenge to write something that alternates between solo, trio, and full chorus. In order to follow the natural rhythm of the text, the meter varies a bit. I'd love to hear any thoughts you care to share, particularly about my piano reduction. I'm definitely not a pianist. Are there any notes you'd want to put in the other hand? Thanks! Let me hear of Your loving-kindness in the morning, for I put my trust in You; show me the road that I must walk, for I lift up my soul to You. Deliver me from my enemies, O Lord, for I flee to you for refuge. Teach me to do what pleases you, for you are my God; let your good Spirit lead me on level ground. Revive me, O Lord, for your Name's sake; for your righteousness' sake, bring me out of trouble.
  14. This is my "Soliloquy for Violoncello No. 9", composed on July 22, 2013, as performed and recorded by me today.
  15. I wanted to put a sound to my dreams and I feel this piece best suits it!! Leave a comment and enjoy!! Sheet Music: https://flat.io/score/5ed7175b0e11096fbd93d018-lucid-dreams
  16. Hey everyone, just thought I'd present my new album here It's a 13 track album of mostly piano solo pieces, some are accompanied by strings etc. But the focus is piano solo which is why I'm posting here. It'd mean a lot if you could give it a listen! Let me know what you think. Feathersmith. Listen to Time by Feathersmith on #SoundCloud https://soundcloud.com/howard-fletcher-75757721/sets/time
  17. This particular piece is a very special piece of music to my heart because I wrote it when I lost almost all of my other compositions due to a faulty laptop I was working on. I do think, however that this incident has triggered my most creative and productive skill yet. Where some of my previous compositions were dull or clearly based off other composers, this piece is almost a funeral march for my lost works, and (I hope) expresses my anger towards the loss but also the light that has triggered my recent creative spree. I hope that you enjoy the composition, and I am desperate to get some feedback on it.
  18. I wrote this piece for the project of flutist Robin Meiksins, Where she play one piece a day for a year. I hope you enjoy it!!
  19. I am new to this forum. I have worked on and off for the last 2 months or so on this sonata. You can view my score at : https://musescore.com/user/27866262/scores/6096785 Feedback is welcome 🙂 This is the first piano sonata I have composed and am satisfied with, after multiple attempts. I have written it in a classical/romantic period style. I hope you guys like it. I'm still not sure about whether to include the fugue in the third movement development. I like the fugue but it goes way too long and the development with it clocks around 11 minutes 😕. There's also meant to be way more pedal, such as in the arpeggio sections.
  20. The Bassoon has to be my favorite out of all the woodwind instruments. It doesn't have the nasal quality of the oboe, despite being a double reed. It has a more mellow tone than the oboe, but also quite a vocal tone. That is one of many similarities between the Bassoon and the Cello. The range is also similar to that of the cello, as is how the timbre changes with register. The Cello and the Bassoon both project more at the same dynamic in their tenor register than in their bass register. And like the Cello, the Bassoon gets a lot of solo writing. Though I do notice a more equal distribution of solo lines amongst woodwinds than strings of similar range and especially when compared to brass solos where most of them are either for high register horn or they are trumpet solos, definitely in the treble clef. I wrote this piece for a challenge to compose for a particular instrument. I wrote it to evoke a ghost chasing after a person and just how scary it seems to the person being chased. I don't own a bassoon myself, so I have no idea how difficult the fortissimo to pianissimo change is or how difficult the 32nd note scales are. I used the low register to evoke the ghost and I contrasted that with the tenor register evoking the person being chased and scared. To add further to that "I'm scared" feeling, I have sudden forte dynamics in the tenor register and later, sudden pianissimo dynamics in the low register. What do you think of this short piece I wrote for Solo Bassoon?
  21. Where my first sonata was based on the username of a member on this forum, my second sonata is a little more abstract. The work begins with material derived from a tone row. The opening motif, of the first movement, then transforms into a more freer atonal chromaticism. My favorite texture and passage from the first movement begins at measure 70 and lasts until measure 82 -I don't think I've written a passage like this before. The second movement starts with a light, almost dance-like atmosphere. This is my testament to chaos and resignation. The final movement continues the material from the previous two movements and brings it to a final closure. Hope you enjoy. As always, comments welcome!
  22. I was wondering if anyone can recommend some songs with violin/viola solos along with an orchestra?
  23. This is the fourth movement of Íslensk svíta (Icelandic suite) for piano solo. This movement is really a variations on a theme, the source being an Icelandic folksong, "Vísur vatnsenda-rósu." The piece has more of a cinematic feel to it than the other movements, and definitely requires more virtuosic abilities. There's also a certain edginess to this movement that, I think, contrasts nicely with the ebb-and-flow of the others. It was quite enjoyable to put together, so I do hope you all enjoy this, as well. Please let me know what feedback you have! Word to the listener: there are a lot of quartal harmonies, whole tones scales, and juxtaposed fifths, so be prepared for a lot of dissonance. This piece is exciting to play (and hear), but don't say you weren't warned if it gives you an earache.
  24. Here is another short piece that I wrote over the summer. It's a humoresque in ternary form. I hope you guys like it. Note: I think the audio file is missing a repeat on the da capo.
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