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Found 10 results

  1. I wrote this piece right after the Passacaglia, Op. 1, in 2015. It consists of the theme, 12 variations (one of which is a short "fugue"), and a coda. Similar to the Passacaglia, each variation flows from one right into the other. The theme was based on a short piece I wrote for an earlier composition assignment, and I wanted to expand it into a larger form. So, I turned it into a theme and variations. Here is my performance of it on Youtube: I hope you all enjoy it. 🙂 Theo
  2. Here is my first large theme and variations work for piano. I don't think the score is perfect, but I will make these changes later.
  3. Hi Everyone, Recently I have completed this piano piece which was untouched for a few years. It is a Theme and Variations piano solo piece depicting the fluidity of water, which is an analogy of one's life journey. Water can be shaped in different ways and has different destinations. Although the piece was done in different years (I did the theme and the first 3 variations back in 2014), I tried my best to make the style more coherent. Hope you enjoy the piece! Best, HoYin
  4. Brahms Variations on a Theme by Haydn is an absolutely outstanding set of variations which I love to study. You can pick up a lot of tips on orchestration from it. Also it is very good for beginning conductors (i.e. me) to work with. Has anyone else heard or studied it?
  5. FALL 2016: Competition Results! Congratulations to all the people who entered the competition. These are my favorite types of pieces to write and I’m glad I got to share that love with all of you. Without further ado here are your totaled scores and final results. Thank you all! Luderart - Eleven Piano Variations on Elgar's Violoncello Concerto's First Movement's Theme Monarcheon: 49/100 Sonataform: 70/100 Ken320: 90/100 TOTAL: 209/300 ChristianPerrotta - Variações sobre o Siriá Monarcheon: 69.5/100 Sonataform: 96/100 Ken320: 90/100 TOTAL: 255.5/300 bkho - Variations on "Happy Birthday Monarcheon: 80/100 Sonataform: 86/100 Ken320: 97/100 TOTAL: 263/300 danishali903 - Variations on a Theme By J. Brahms Monarcheon: 75/100 Sonataform: 96/100 Ken320: 98/100 TOTAL: 269/300 SebastianViola - 5 Variations on a theme from "Peter and the Wolf" for String Quartet Monarcheon: 61.5/100 Sonataform: 84/100 Ken320: 97/100 TOTAL: 242.5/300 Emiliano Manna - Seven Variations on a Rossini's Theme Monarcheon: 83/100 Sonataform: 96/100 Ken320: 100/100 TOTAL: 279/300 Noah Brode - Variations on a Theme of Dvořák Monarcheon: 62/100 Sonataform: 89/100 Ken320: 83/100 TOTAL: 234/300 TJS - Some More Variations on a Theme by Mozart Monarcheon: 70/100 Sonataform: 83/100 Ken320: 86/100 TOTAL: 239/300 RANKINGS: 1. EmilianoManna (279/300) 2. danishali903 (269/300) 3. bkho (263/300) Congratulations Emiliano Manna!
  6. Variation II.mp3 Variations on a Theme By J. Brahms.pdf This is my entry to the Fall 2016 Competition! The theme in question is from the famous finale of Johannes Brahms' Symphony No. 1. Please see the attached notes for more information about the piece. For your reference, here is a snippet of the theme: https://www.youtube.com/watch?v=fhHb-62BfpI Thanks for listening, and feel free to share any feedback!
  7. Variations on a Theme of Dvorak.mp3 Here's my entry for the Fall 2016 competition. I had a baby last month and have had very little free time since, so it's a bit rough around the edges, but I hope you enjoy it! Edit: Sorry for not linking the original theme before. Here's the full movement; the theme begins at about 0:46.
  8. Here is my entry for the Fall 2016 Competition, a set of 10 variations on the well-known simple theme "Happy Birthday." Though I suspect everyone knows this theme, in case you don't here's a link to a version of it. Just listen to the first 25 seconds or so for the basic theme: https://www.youtube.com/watch?v=HVEmrAilqj8 Thanks for listening and best of luck to all the other entrants!
  9. YC: Fall, 2016 Composition Competition - Please Read Carefully! Hello to all! I’ve been given the honor of leading this year’s fall competition for this site by @danishali903. Perhaps some of you saw this on the chat already, but it’s time to make it official! As some of you might have guessed from my entry in last season’s competition, I’m a huge fan of Theme and Variations pieces. Hearing and experiencing multiple ways of expressing one theme is always a refreshing and fun way to look at music. Some of the best Variations pieces include Tchaikovsky’s “Variations on a Rococo Theme”, Brahms’s “Variations on a Theme by Haydn”, and who could forget all the composers who wrote famous variations on Paganini’s Caprice No. 24 in A minor? All of these pieces take the essence of the original and provide quick and innovative renditions of them in the form of variations (sometimes a lot of them!). You guessed it, this season’s topic is Variations on Other Composer’s Themes! Below are all the instructions and guidelines concerning scoring, the topic, and deadlines: TOPIC: Compose a “Theme and Variations” piece using a theme from another composer’s piece. RULES TO CHOOSING A THEME: Picking a theme: Entrants are encouraged, but not required, to pick a relatively well-known theme to write their piece with. This is just for the judge’s convenience, so that they are more familiar with the piece and thus can judge the variations more fairly. The theme must be of a length where making variations on it is plausible. Please be a good sport and don’t pick too short a theme. Stating the theme: Entrants should clearly label in their post AND their score what theme they will be utilizing, by which composer, in which piece, and provide a link to that piece with a timestamp for the judges’ convenience. Failure to do so will result in disqualification. Utilizing the theme: Entrants should open their piece directly quoting the theme they will be using throughout, although the harmony they use with it can vary. This opening should be simplistic and easy to latch onto. The subsequent variations should clearly utilize some part of the theme, be it through the chord progression or thematic motifs. ELIGIBILITY: *You must be a member of the Young Composers forum in order to enter. Sign ups will be in the comments below. *There will again be no limits to instrumentation. *The minimum length for this competition will be raised to 6 minutes. The maximum will stay the same at 20 minutes. *You must have a minimum of 5 variations in your piece. *Same as last competition: You must have some sort of audio rendition accompanying your work, otherwise your entry will be disqualified. *If you volunteer to be a judge, you may not enter as a contest participant. *Entrants should have an intermediate understanding of engraving and orchestration… this is another major focus of the competition; the point value has been raised significantly. SCORING: How clear was it that the entrant followed the basis of theme in each variation? /20 How unique was each variation in comparison to both the theme and the preceding variation? /20 danishali903 wanted there to be a larger emphasis on orchestration this season. How well did the entrant write for the instruments he/she/they chose? /20 How quality is the score? Are all the markings necessary for a successful performance there? Are all the variations and/or coda labeled? /20 Is the length practical (or does the piece start sounding monotonous?)? /15 How is the quality of the audio? /5 Please keep in mind that the point values for everything have been raised, especially for the score quality. TOTAL: /100 An extra 5 points can be added to the discretion of the judges if the entrant provides an explanation as to why they chose that theme and why they chose that instrumentation. A penalty of 10% will be factored in to your total score (per judge) for every variation less than 5 an entrant provides. THIS DOES NOT INCLUDE THE THEME. NOTE: Having a Coda present in your piece, clearly labeled, will not count as a separate variation, but will not be reduced from you score for sounding similar. DEADLINE: I’m hoping for everything to be done by the holidays, so to give the judges ample time to properly judge these, on average, longer pieces, the deadline for submission will be November the 25th. The deadline to signal intent for entry into the competition will be November the 1st. ENTRY: Please list your interest to compete by replying to this thread below in the comments. Please note if you are applying as a PARTICIPANT or a JUDGE. I will be updating this list for participants as we go. I will be serving as one of the 4 judges for this competition, so open spots for adjudicating will be limited to 3. JUDGE REQUIREMENT: Must be willing to properly defend all the scores for each category with a few sentences minimum… we want all of our entrants to grow with us! GOOD LUCK TO ALL AND HAVE FUN! GOOD QUESTIONS THAT MAY COME UP: Should I have variations that transition into each other, or can I stop between variations? Entries do not need to have a transition per se, but the piece should still flow, even if stops are present. Listen to Rozsa’s “Variations for Piano, Op. 9” for reference. Why is the minimum time raised for this competition? The minimum time has been raised in order to challenge composers to think about how they can uniquely portray a melody line, over and over again. Why is there a minimum number of variations and why am I getting penalized for not meeting the requirement? There is a minimum number in order to discourage entrants from writing very few, but long variations. How long should each variation be? The point of a classical variation is to adapt a melody or chord progression into a different style, then change it again, to keep interest high. There is no prescribed length per, but it needs to be long enough to get the idea of a variation across. Some are 30 seconds, some can be a minute. What if two of my variations sound similar? The judges will still count it as a separate variation, but will acknowledge its lack of perceptual difference from the prior variation. However, if the score writing is clearly different, that will be taken into account. What if I have a Coda? Having a Coda present in your piece, clearly labeled, will not count as a separate variation, and will not be reduced from you score for sounding similar. A Coda is generally a callback to the theme, found at the end or near the end of a variations piece. Can I submit more than one piece? No, please only submit one piece for this competition. ENTRANTS: 1. danishali903 2. Austenite 3. bkho 4. ChristianPerrotta 5. KJthesleepdeprived 6. orchdork02 7. Noah Brode 8. luderart 9. Emiliano Manna 10. JohnKiunke 11. SebastianViola 12. TJS Judges: 1. Monarcheon 2. Sonataform 3. Ken320 EDIT: Judge Gylfi has had to resign the position due to health complications. Please do not post submissions to the competition here.
  10. "Variations on a Wanderer's Theme" for Solo Cello, based on the Shakespeare play, "Hamlet". This is my entry for the Summer Composition Competition.
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