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Found 43 results

  1. This is a piece of which I am very proud. In part, it is dedicated to the city in which I am currently staying -- Prague. This is more than likely my most complex work (structurally), and I hope to use this piece as a learning experience. Here, the viola acts as the leader of the orchestra, which experiences a tremendous journey that spans more than 30 minutes in a contiguous manner. I have included an analysis and I hope that you enjoy!
  2. Dimitrije005

    My String Quartet #1

    Hi! I am a 12-year old boy that likes to compose music. This is my first string quartet. It is written for two violins, viola, and a violoncello. I hope you will like it. Feel free to leave your opinions in the comments - every feedback means a lot to me.
  3. dhslamas

    Breve meditação

    Piece for viola and piano, I wrote this last year after of a meditation practice. It just a long melody who pass for some sound landscapes. I hope you enjoy! Score: https://www.sheetmusicplus.com/title/breve-meditao-digital-sheet-music/20731881?ac=1
  4. Okay so here's my first kind of 'major' piece I've written for my degree. It'll be performed by a professional ensemble in May, and I'm sending off the score this week. The brief was to write a piece of maximum length 12 minutes, for an ensemble of maximum size flute/clarinet/perc/2 violins/viola/cello/bass. After a bit of agonizing over what on earth I would do, I did what usually works for me and just sat down and put some notes out to see what happened, and then went from there. The piece is kind of loosely following around a character as he explores a world. I haven't put too much more thought into the precise story than that, except that the first movement is introducing the character, and the second and third are two little adventures of his, with the third ending in his triumphant return. I kept a fairly light tone throughout, which seems to be a common thread for all my compositions. Some of my tutor's suggestions that I put in were expanding the first movement slightly, experimenting with string harmonics, and just some general score tidying. He liked the ending and I do too - his comment was that it sounded like something a composer might have written a hundred or so years ago, but in a good way. The piece is fairly tonal, almost to a fault at times, so mostly my concerns were with trying to keep it as fresh and interesting as I could, in my own ways. Mainly, that involves trying to vary up my chord progressions and harmonies. I had particular fun towards the end of the second movement where I literally was just putting in whatever I felt like in the strings. The title has no significance whatsoever, except that I wanted it to evoke something childlike and innocent. I originally had 'Tinky-Winky' instead of 'Timmy' but my tutor thought that was going too far, and it would seem like I was going for a jokey piece, which was not quite my intention. Recording is a slightly dodgy/quirky/stuttery Sibelius output but it's mostly okay.
  5. Luis Hernández

    En la memoria (In Memoriam)

    Some of my influences here: John Cage, Arvo Pärt, Peteris Vasks, Philip Glass. A simple piece for piano and viola, in an elegiac mood, remembering someone lost just a year ago.
  6. luderart

    Soliloquy for Viola No. 7

    Back in October 2017, I composed this piece, my 7th soliloquy for solo viola, in response to Serj Tankian's "7 Notes Music Challenge" (Check here: https://www.youtube.com/watch?v=yZMJy7jO08Q). They have now chosen the best 500 from thousands of submissions worldwide and will soon choose the winner from the top 100. You can listen to the selected 500 and see the list of the top 100 in the following website: https://www.7notesexperiment.com/ I only listened to several of the many multi-instrumental and multi-genre compositions based on the 7-notes theme, but in my mind my continuation in the 3rd and 4th measures offers the most natural and logical one. Here is the link to my previous soliloquy for viola: https://www.youngcomposers.com/t34476/soliloquy-for-viola-no-6/
  7. Mathieux

    Four Short Movements

    Hey everyone! It's been a very long time! I first joined here around a decade ago, and never stopped composing! I've since moved to Sweden from the US, and am studying composition at a conservatory here. I wanted to share my first big project from last term, where we were to compose for a chamber ensemble of fantastic musicians (Norrbottens NEO, in case you're interested). As first years, we weren't on their actual recital and were encouraged to write music as difficult as we wanted and try new things. Unfortunately, their percussionist was ill on the day of the rehearsal/recording, and we only had about an hour each to rehears and record, so it didn't turn out as great as I had hoped. It was still an awesome learning experience, and given a few more hours of rehearsal I'm sure it would have turned out great. In lieu of that, I'll attach both the midi and the recording, as well as the score. The ensemble is for flute, clarinet, violin, viola, cello, piano, and percussion. Instead of writing one piece, I decided to write four short movements, each one exploring a different idea. The first two are played as one, and explores some cool scales (double harmonic major as well as a fully diminished locrian), the third movement deals with time signatures/rhythm (and, seeing how the percussionist that was there that day was sight reading, I think he did fantastic), and the fourth movement was to see how much I could have acoustic instruments sound like synthesizers in a dubstep-like movement. Obviously it's a finished piece, but any and all feedback would be welcome! I hope to be posting here more and getting to know the new people as well as catching up with the old ones :D
  8. punintentional

    Miniature for String Quartet

    A piece I wrote one day during the summer holidays. https://youtu.be/IPhrPxi4l8Q
  9. OliverKovacs

    String Quartet

    hello, This is my new string quartet composition. Just listen, and share your opinion! Thanks! :)
  10. aMusicComposer

    Strings on Violin and Viola

    Does the G string of a Viola have the same timbre as the G string of a Violin?
  11. This piece here, despite the timing and the name of the piece, has nothing to do with the solar Eclipse this year. This piece was actually written back in 2012, and I've recently remastered it. It was wrote back when I was still very much into the ponies, and was actually inspired by Luna. The intro is meant to be grand, and fade into a sense of regalness while still keeping a dark undertone, signifying Luna's dark past. This piece starts off in f# minor, and then hits a mood change and goes to A Major in measure 82 until the last segment of the piece which is a modified version of the melody used from the center. This will be track number 8 on "Dust of the Past" when it is released.
  12. Ferdi-B

    Quartertone Study No.2

    Hi all, this is my second Quartertone study, which I wrote in 2013, in my first semester at the Vienna University of music and performng arts. Looking forward to your feedback.
  13. Noah Brode

    Capriccio for Viola and Piano

    I don't really know what happened here, but I don't hate it. Let me know what you think!
  14. ComposingMonkey

    Help with String Quintet

    Hello, I'm new to this site. I only got into music about 3 years ago (I'm 19 now) and I need help because this is my first composition. So I understand most musical jargon, but I'm wanting to study Composition next year at a Music Conservatorium. Constructive feedback would be awesome! I know the piece isn't perfect which is why I need help!
  15. MusicianXX12

    Sonatina for Clarinet and Viola

    Sonatina for a duo of Clarinet and Viola
  16. Noah Brode

    The Oort Cloud

    I'd been thinking about doing a reduced version of a very old piece of mine, "The Oort Cloud," for a long time. I believe it was the first piece I posted here three/four years ago (which I've since deleted). It was interesting to go back through the "orchestral score" and see how much I've learned since then, and it was a challenge to keep it interesting with the limited instrumentation (not to mention the total absence of a second theme). I tried my best to use some minimalist techniques [subtle changing of rhythms and intense repetition, which is pretty much my entire knowledge of the genre ] and some more contemporary tonal and harmonic language than what I usually go for. Since this isn't really my wheelhouse, I'm happy to hear any thoughts, suggestions, criticism, etc. Thanks for listening! EDIT: Also, for those that may be confused by the title: the Oort Cloud is the outermost ring of gas, dust, and other interstellar debris that is theorized to circle around our sun at an extreme distance, even beyond the dwarf planets, asteroids and other (larger) objects of the Kuiper Belt.
  17. Monarcheon

    Quazopax

    Written for a friend; I'm excited to be able to finally rehearse and perform it soon!
  18. Trio in B-flat for Viola, Violoncello, and Contrabass I. Allegro spiritoso II. Adagio e sostenuto III. Menuetto: Allegro IV. Allegretto Composed: February 22 - May 26, 2014 Style: Classical, circa 1790 Though conceived as a mere amusement, this work ended up being for me an intensive study on how to handle a group of low-register instruments effectively in a chamber ensemble. Works for this very unusual instrumentation are exceedingly rare, as one may imagine, probably because of the challenges I faced in writing my own piece. Achieving clarity in an ensemble with so much bass sonority was rather difficult, but I believe I achieved it to some degree. Fortunately the players for whom I was writing it made the job easier. This trio was originally written for myself, a friend (an excellent ‘cellist), and my ex-boyfriend (a fine bassist) to play just for fun. This is one of several chamber works featuring the contrabass that I wrote with my ex-boyfriend in mind, and I learnt a lot about the capabilities of the instrument from writing them (I had never been much interested in the contrabass in chamber ensembles before I met him, but listening to him practice difficult passage work I would never have thought possible on the instrument fascinated me, besides which, affection prompts us do things we wouldn’t otherwise have the inclination to do). Both of the other players are better technicians than I am, so I was able to write parts for them that were somewhat demanding. The viola part I wrote for myself was also challenging for me, but carefully within my skillset, so all the parts are fairly equal. Description: The first movement (Allegro spiritoso), in Sonata-Allegro form, opens with a bold, vigourous 4-measure theme for all the instruments in unison, sweetened by a more lyrical melody in the ‘cello before being repeated. A transitional section follows, featuring the contrabass in sweeping scales and arpeggios, which modulates to the dominant of the dominant key, C major; the second theme, somewhat unusually, begins in C, with the ‘cello and ‘bass harmonizing in 10ths, and makes its way to the dominant key of F a few measures later. After a short codetta, the exposition is repeated, with the main theme slightly altered here and there. The development treats snippets of the main theme contrapuntally before modulating back to the tonic key for recapitulation. The second movement (Adagio e sostenuto), in binary form, is in the subdominant key of E-flat, and begins with a simple but expressive theme, which gives way to a transitional section led by the ‘cello. A more rhapsodic second theme follows with the viola and ‘cello harmonizing in 3rds and 6ths, accompanied by the ‘bass. The A and B themes are repeated, all in the tonic key, and coda based on the A theme closes the movement. The third movement (Allegro) is a Menuetto based on a 5-note motive that is repeated and developed throughout the main section of the movement. The contrasting Trio section, in the movement’s dominant key of F, is based on a sprightly theme characterized by leaps of 5ths and 6ths up and down. The main section is then repeated (Da Capo). The fourth and final movement (Allegretto), in Rondo form, begins with a somewhat droll “A” theme, which is then developed during a transitional section. Just when one expects the “B” theme to enter, a short fugato on a new subject is introduced, which leads into the actual “B” theme in the dominant key of F - humourous, and characterized by accented syncopations and sudden changes of dynamic. After a brief codetta, the “A” theme returns abbreviated, followed by a lyrical “C” theme. The “A” theme returns again, followed by yet another short but different fugato on the same subject as before, and the “B” theme returns in the tonic key. A variation of the “A” theme returns a final time, and a humourous and spirited coda ends the movement. This work was premiered in July 2014 by the ensemble for which it was written, at a cojffeehouse in Wichita, Kansas (where I was living at the time) which often features live music of all sorts, and was warmly received by the audience of patrons sipping coffee or having breakfast. Alas, the nature of the venue precluded a live recording being made - there was a fair amount of background noise as beverages and food were being served. Inasmuch as I have heard this work performed effectively, and I know it works, I have few concerns, but I am open to suggestions, comments, and criticisms as always. Players’ and Audience Comments: The players enjoyed playing the piece, and when I suggested a performance as part of the ‘cellist’s regular solo set at the coffeehouse, all were in agreement. The bassist, himself a fine composer as well as a university music theory teacher, was somewhat critical of the ‘bass accompaniment of the second theme in the slow movement because it didn’t seem like a characteristic period bass line, but that was the only criticism I received. The audience members made few comments other than to congratulate me. To my surprise, no one seemed even vaguely bemused by my choice of instrumentation, which I took as further evidence that I had made it work effectively. I did receive one criticism from a friend who frankly told me he hated the piece, saying that it was devoid of any treble sonorities and far too dark to be pleasant, but his was the only such comment. I hope you enjoy this rather unusual work! Cheers!
  19. 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!
  20. Guest

    The Ghost (Opus 23)

    Hello fellow composers! I'm leaving you with my newest composition - Th Ghost. It is written for piano, small string ensemble, synthesizers, and harp. I literally have no idea what I was thinking when I was writing this piece. I've never used that much dissonance or vague tonality. Partially I wanted to step back from the usual canon patterns that I tend to follow and do something unconventional. At least I've tried. It is a mostly thematic piece. I also had problems with mixing and changing dynamics/panning/EQ - I absolutely hate Logic standard pizzicato strings... Anyways, thank you for listening, and hope you enjoy this small piece just a little bit.
  21. Here's an older work of mine that I'm thinking of writing a sequel to. I would be interested in folks' opinions about what works and what doesn't. The basic "story", such as it is, is that the three instruments are three separate characters who are constantly taunting each other. It finally gets to be too much for the piano, who slowly loses it over the course of the piece. Thanks!
  22. Maarten Bauer

    Melody for Viola, Op.26

    As a result of the request from @danishali903 to compose some music for solo viola, I have composed this ''Melody for Viola'' (Opus 26) today. See for the post under Community > Repetoire > CALL FOR SOLO VIOLA MUSIC Bach's cello suites have heavily inspired me, as you can probably hear. I have never written for a solo string instrument before, so I hope that it is technically playable. If not, please tell me what and how to improve it. To Danishali: Hopefully, this piece is suitable for your playing in the hospital. I wish you good luck and a lot of fun! Feedback and sharing your opinions would make me very happy! Kind regards, Maarten Bauer
  23. danishali903

    CALL FOR SOLO VIOLA MUSIC

    Hello All! As some of you might know, I'm a violist/violinist. Recently, I've begun volunteering at a local hospital, where I play my instrument for patients and their families as part of the hospital's Arts and Healing program (it's really nifty!) Anywho, I try to alternate between taking my violin and viola to the hospital. If you're a string player, you know that the violin has a LOT (and I mean LOT) more pieces in the solo repertoire compared to the viola. And frankly, I'm tired of playing the same stuff over and over again on my viola. SOOO, I'm asking you all, if anyone is interested, to write music for solo viola so I can play some stuff! I would prefer something that doesn't require a piano accompaniment, but its not a hard and fast rule. I'm also open to arrangements of other pieces, or transcriptions of other pieces for other instruments (with the holiday season in full swing, Xmas music would be really nice too). Technically, don't make it so difficult as I won't have much time to prepare (I'd be literally sight-reading most of the time)...think of the Bach Cello Suites for Viola (particularly the first 3). And nothing to avant-garde....it IS for a hospital setting. As an incentive (and a thank you), I'll record the piece for you and send it to you! Let me know if you guys have any questions, and thanks for reading this!
  24. Hi, I'm new here and this is my first post! I was wondering what people thought of this thing I wrote a couple of months back, having joined this morning. I haven't been able to get any feedback from my music teacher at school (I'm in year 8, or, in the US, 7th grade) and want to know how I can improve it. Although I've had lessons in flute, recorder and, currently, bassoon, I don't have any training in composition, and think that the constructive criticism here would help me improve as a composer drastically. It's based on looking back at the past with joy and sadness, and the bittersweet feeling that causes. The louder bit is supposed to be a rush of memories and the emotions they bring. Thanks!
  25. Guest

    Opus 22

    Very random thing I made recently, not knowing what's going on actually... I strived for something between instrumental and ambient/free form. I used very low piano keys on purpose, just to make it clear - restricting yourself to only middle range makes everything too crowded and not very imaginative. Plus, I love low pitches, so deal with it! I'm extremely worried about the transitions between different musical ideas. A casual track for sipping warm tea in a cold, snowy day, I guess. Thank you for listening!
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