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  1. Hello guys. Haven't been active in this forum for a long time. So this is my second draft of my first string quartet. So you're advices/critiques will help in my venture in writing the next parts of the piece (yes some parts are not good).Hope you like it. https://flat.io/score/5e6f38d9b35b8f06521c6575-string-quartet-no-1-in-e-minor-2020
  2. Hello! I am totally new to composition, self-taught and doing it as a hobby only. This is also my first post on this forum and I didn't find a section explaining the rules of the forum so apologies if I'm doing something wrong! Anyway, here is my first try for writing a string quartet! Curious to have some feedback on it :) I attached an audio file and a pdf but you can also find it here on musescore: https://musescore.com/user/27118405/scores/6317578
  3. Hi everyone! This is the 3rd movement of my string quartet! In contrast to the meandering 2nd movement which does not have any structure, this movement is mostly following the Rondo form, and I used motifs extensively throughout the piece. This was also the first time where I tried using parallel motion for the theme and climax of the movement to contrast the episodes which are more polyphonic and uses more call-and-response. I also included a quasi cadenza for the cello before the reprisal back to the opening of the piece, with a fiery cadenza to end the piece! Let me know what you guys think
  4. This post will be my opinions and takes on the string quartet, that will apply to all genres of the string quartet. For anyone who is interested in writing string quartets, I shall try to give my best unorthodox pointers and tips on how to make a string quartet better, and utilise each instrument to the best of its ability. Personally, I am an amateur string player since young who has both avidly listened to and played numerous string quartets and I tend to take inspiration from the quartets that I listen to while composing my own quartets. Now, let me discuss some of the pointers: 1
  5. This post will be my opinions and takes on the string quartet, that will apply to all genres of the string quartet. For anyone who is interested in writing string quartets, I shall try to give my best unorthodox pointers and tips on how to make a string quartet better, and utilise each instrument to the best of its ability. Personally, I am an amateur string player since young who has both avidly listened to and played numerous string quartets and I tend to take inspiration from the quartets that I listen to while composing my own quartets. Now, let me discuss some of the pointers: 1
  6. Hi everyone! This is the second movement of my string quartet, with this being the slow contrasting movement! I have decided to go in a different direction from the 1st movement by making this movement feel much more meandering and winding, sort of like a foray into the unknown, with a distinct 'home' theme. My intention is to delve and explore a diverse range of emotions and textures throughout the piece, with a sense of wonder and in a contemplative mood. I used a large range of contrast in terms of the orchestration and instrumentation, from the solo, quasi-cadenza passages present in all 4
  7. Uhor

    Unfolding

    It's a tonal work though slightly unconventional yet consistent. I like what the title suggests. https://soundcloud.com/richannes-wrahms/unfolding
  8. Hi everyone! This is my first attempt at a string quartet. It is the first movement of a larger string quartet that I intend to make in D Minor. It would be nice if you could review it and leave some feedback. Thank you! (really sorry I only have the midi mockup, haven't got it performed yet) link: https://youtu.be/yVSecRZSyCg
  9. Hello! This is a suite of seven miniatures for string quartet inspired by the illustrations of the Major Arcana of the Rider-Waite tarot card deck, first published in 1910. I don't personally believe in fortune-telling (though there's no judgment from me if you do), but the illustrations in this deck of cards are simply gorgeous. There are 22 Major Arcana in all, from Number 0 (The Fool) to Number 21 (The World), so I decided to split up the work into three volumes. The Fool (No. 0) will make an appearance as the introduction for each volume, since this card typically is used to represent
  10. Comments welcome. The work explores the possibilities of a 4 note motif -that is transformed throughout the entire work.
  11. Hi forum 🙂 I've been away from composition for a while, due to time and motivation matters... Anyway, here's may last one, a piece for string quartet I would qualify of neo-baroque-romantic… 🤔 Hope you'll like it 🙂
  12. No school for me today, lying in bed sick and can do nothing but compose. Hope you guys enjoy the music though.
  13. Hello everybody! I've just posted my first string quartet, called "Impetuous". Here's the link for it! I was very much inspired by Villa Lobos' 6th string quartet, and wrote the first movement with it in mind. It's called "Impetuous" because I was trying to convey the sense of progress and continuity through rhythmic impetuosity, instead of using harmony or any other technique to do so. Therefore, the staccato sound and counterpoint/imitation was of great use. Also, I'm currently working on the third and last movement of a Sonata for Oboe and Piano, so if you're inter
  14. Hi 🙂 Yesterday I went for a short walk under the rain, and I crossed a pair of ravens, which I remembered starting my week-end composition. That's why it's called "Les oiseaux" (The birds). Good week-end 🙂
  15. Hi 🙂 I present you here my new short piece for string quartet. It's called "L'été", which means "Summer" in French 🙂 Have a nice day 🙂
  16. Hey gang, I posted this piece earlier when I was in the middle of writing it. Here is the finished product. This is the piece I composed over the spring semester during my first semester of composition lessons at the university I am attending. Please enjoy and let me know what you think! (P.S. Evidently when you use Petrucci font in Finale, the tremolo stops working, so that's why it appears in the score, but is not in the MP3 [do the midi problems ever end...?])
  17. Hello Everyone, This is a recent experimental showing my exploration in various styles. There are 3 movements: I. Allegro Moderato [5' 20"] II. Adagio [6' 48"] III. Vivace [4' 02"] The first movement adopts the 12-tone system (The tone series is shown in the score in a table). The second movement explores the use of polytonality. Hope you enjoy the music and I appreciate your comments:) Best, HoYin
  18. So, I just got this idea yesterday of orchestrating Eine Kleine Nachtmusik. Should be easier to do than the Pathetique Sonata orchestration I did before. Since it is Mozart that I am orchestrating, I'm staying conservative with my instrumentation. Here is the instrumentation I plan on using for my orchestration: 2 flutes 2 oboes 2 clarinets 2 bassoons 3 horns 2 trumpets tympani 1st violins 2nd violins violas cellos double basses The reason I haven't put in numbers for the string instruments is because most likely,
  19. These are my "Two Sententiae for String Quartet Op. 321". Here is the link of my previous set of sententiae for string quartet, again a set of two sententiae: https://www.youngcomposers.com/t36832/two-sententiae-for-string-quartet-op-311/ In the line of reposting some of my older pieces, I had also posted another set of sententiae for string quartet. Here's the link for that: https://www.youngcomposers.com/t36851/three-sententiae-for-string-quartet-op-139-old-deleted-piece-2181/
  20. Hello everyone. It's my first post here in youngcomposers forum. So, I decided to start composing! My goal now is to compose a short piece every week, with some kind of limitations, to keep my work organized, more interesting and asking some research. To get started my limitation now was simple - write melody first and then harmonize it. So it's my first tune for 'one tune in a week' challenge, and my first composition for strings! Sounds a little silly, but I had some fun while composing this, and that I think is very important! Critiques and feedback are more than welcome! 🙂
  21. stewboy

    Jūra

    This is the first string quartet I've ever written. I generally don't enjoy string-only ensembles, maybe because I didn't really grow up around strings at all. So writing this piece was really like pulling teeth a bit. I only really started to be okay with this piece when I was about three quarters of the way through and I finally got kind of a sense of the overall structure - before that I was floundering and feeling lost the whole time. This piece was written for a collaboration with the University of Stirling Art Gallery, which is running a Refugee Week in June with artwork and the lik
  22. In Nomine audio mp3.mp3In Nomine score.pdf This was a piece written for a university composition and I chose to base it on the English 16th century genre 'In Nomine', based on the 'Gloria Tibi Trinitas' plainchant. The first half is an English renaissance pastiche (with the chant melody in the viola throughout) and the second half is serial (see tone rows above). The cadence at the end of the first half is used as a rhetorical device to further emphasis the juxtaposition of the two styles. The structure within the pastiche A section is visibly and audibly binary, whereas the seri
  23. Hey there, Here is another piece which I have been working on this semester! I really need to come up with a fun title, so if anyone has any ideas, please share! Also, I am happy to hear any comments on this work. It is in four movements, and I hope that you enjoy each of them (my personal favorite is the third one - 'Largo').
  24. A Letter to My Father.mp3 A Letter to My Father.pdf I recently put the finishing touches to a piece I composed back in 2008, “A Letter to My Father.” This piece is actually the third movement from my string quartet “Jackdaw.” Therefore at its heart it is based on the life and writings of Franz Kafka, like all the other music in that quartet. However this music has special meaning for me as well (also like all the music in that quartet). It feels especially meaningful during this current time in my life, when my own interactions with my father have become so very strange. Ka
  25. Trying to recognize and reject the concept of sonata form by presenting transformations of the same motif's in a continuous dynamic every-changing cycle. Looking for constructive feedback... https://www.youtube.com/watch?v=LlarRvohpI0
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