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  1. Hey, it's been a minute I wanted to experiment writing something Canon-esque, drawing inspiration from Canon in D. It's written in ternary form, with the A section in Eb major, the B section in Bb major (with some minor moments) and returns back to Eb major for a repeated A section. It's very basic, and no where near performance ready, but I've been on this site for a while, but afraid of composing, so I guess this is my plunge lol. Upon review, I have noticed some technical errors, but this was just for fun and to get my feet wet and I just wanted to get some feedback. Thank you
  2. As a violinist, I've always felt today's musical landscape is missing something with the general absence of any modern violinist-composers along the lines of Paganini, Wieniawski, Sarasate, and so on to contribute new and exciting pieces to the repertoire. But since I'm both a violinist and a composer, I figure I might as well throw my hat in the ring and try to fix that. I've written four pieces by now, though I'd only ever performed two -- until recently, when I got to premiere the third. I composed this piece back in 2020, shortly before the entire world shut down. But recently I finally found a good opportunity to perform it, so I gave the "world premiere" on November 9, 2022. Unfortunately it was not recorded except on a phone at the back of the hall, and the massive echo made it sound pretty muddy. So I got a recording session in today in order to get higher-quality audio. Here's the end result: https://www.youtube.com/watch?v=WghXNdOc-VY The indication "harm." in the part is not me being too lazy to make diamond noteheads -- it is the notation used by violinist Roman Kim (one of my biggest inspirations and another torch-bearer of modern violin composition) to indicate the use of the forced harmonics technique he invented. It sounds one octave higher than written, is fingered exactly as written, and always lasts until the following "ord." mark. They appear at timestamps 2:15 and 3:56. While exceptionally challenging to master, they unlock some sounds that would otherwise be impossible to produce, so I think it would be interesting if the technique could become more widely learnt and incorporated into more modern violin writing.
  3. This work was written for a call for works for violin and cello duo. An episode is a form that I created a few years ago. The concept behind the form stems from my love of contrapuntal textures. For this form, which I've explored more within my piano writing, the concept is the weaving of contrapuntal textures and more homophonic explorations of the material -similar to the estampie model of the renaissance. This would be the first episode that I've composed outside of my piano works -so, to me, this work is an excellent embarking of the form to other genres! Anyways, I'll be revising this piece based off the performance -should it manifest! Hope you enjoy.
  4. Hi guys, this is the first (complete) piece I have composed. It was inspired by the painting "The Raft of the Medusa" by Théodore Géricault, which I found whilst I was surfing the internet for inspiration. I'm hoping to use it as part of a larger work later on, but here it is as it stands. The piece is in ternary form (A-B-A), with the A section being in G minor, and the B section being in the Dominant(D Major). The A Section is supposed to invoke the dispair that the sailors on the raft must've felt as they were sailing, and their cries for help. The B section is supposed to be some sort of cheer up song, that the sailors sing (and waltz to), to try and cheer themselves up. Eventually, the despair and pain of their ordeal overwhelms them, and they stop singing, and start crying for help again, hence the repeat of the A section. I do hope you enjoy my piece, and I would appreciate some feedback on it, Yours Faithfully, Expert21 P.S. I apologise in advance for some of the discrepancies in the notation, I hope to fix it when I have more time.
  5. Hi! Nothing fancy today. This is a piece I wrote back in 2019 for a guitar, a violin, a synth and of course, bongos (as well as marching and bass drums). I think this is the right sub-forum to post it, please tell me otherwise. The piece was done for a certain minecraft server I on which have no time to keep working and also and most importantly because it was so long I hadn't composed anything that included bongos. As always, I'm open to feedback, questions, etc, etc. Kind regards and have a nice week ^^!!
  6. I recently completed this short showpiece I mostly wrote for myself. I'm going to be trying to arrange a live performance very soon, after I learn the part of course. For now all you have is Finale's rendering, but it should give you the idea. I'm not going after any particular composer's style, I'm just trying to write something that is simultaneously accessible, flashy and difficult, but also musically sophisticated. valse brilliante.pdf
  7. The first movement of my first violin sonata (it is supposed to be in sonata form) . Any feedback is welcomed!
  8. Hi to everyone, since finally I have vacations I decided to try to compose a tango. I called it "primer tango?" Which could be translated as "First tango?" because it has some things that get out of the genre, so you can say that this is a personal interpretation. Also it's the first time that I writte for bandoneon so the left hand is pretty empty. So what do you think? it sound like tango?. The structure is simple. Introduction: A A' with repetition: B: bridge: Introduction: A A'. Also, I tried to make a sheet music video with a animated background intead of just the sheet music so it is also a experiment in that, I also attach PDF and mp3 if it is easier to read that way.
  9. El denso velo (The thick veil) Wrapped in the dense veil of the dark night, the gazelle of the woods came to fetch me. Herido (Wounded) I have been so cruelly wounded by love that if my end came I would find no pain in death.
  10. I wrote some songs for violin and piano based on poems of the árabo-andalusí centuries. Yes, the arabs took Spain from the year 711 until 1492, and left a big and beautiful cultural legacy that is currently in our language and culture in general. These songs were written some years ago but now I have gone over them, arranged them and fixed some mistakes due to inexperience (I still am an unexperienced composer, but less). This poem was wrote by Abu-L-Qasim Al-Manisi in the 112th century. I tried to translate it into English:
  11. At this forum the stealing and plagiarism are being encouraged.
  12. This is my "Soliloquy for Violin No. 33". Here is the link to my previous soliloquy for violin: https://www.youngcomposers.com/t41587/soliloquy-for-violin-no-32/
  13. Hi, this is an arrangement of "we wish you a merry christmas" , that I made to play with my girlfriend, I wanted to make it a little original and give it a twist compared to the original song, so I added a part in minor and some other little tweaks to keep it interesting. Any feedback is apreciated :3.
  14. This is my "Soliloquy for Violin No. 32". It came to me in one continuous burst of inspiration. Here is the link of my previous soliloquy for violin: https://www.youngcomposers.com/t37002/soliloquy-for-violin-no-31/
  15. I have written a quartet for strings on which I would like the honour of some of your criticisms. This work has sprouted from almost a year and a half of counterpoint study. It is similar to a fugue; that is, it does tend to have fugal aspects; however on the whole, this is mostly a work of counterpoint with many interesting hidden ideas embedded within it. I can understand if you are unable to listen to the entire work, as it is almost 16 minutes long; however, if you give me some feedback on even a single contrapuntal passage, I would be greatly indebted to you. Thank you for your time and I dearly hope you enjoy this work. On a side note, this recording that I have here does not take into consideration single note dynamics which is indeed frustrating; however, it is the only soundfont I could find that effectively does some of the counterpoint justice (that is, so it is not too muddy sounding).
  16. Hello, fellow composers! This is my first topic and first submission for a review of one of my compositions and I'm very excited to share this with you. I work with pen and paper, using a piano for the most part, and only in the later stages of each section of sketchwork do I continue refining the sketches through the Dorico interface. I usually expect to record this with professional musicians in some way or another, so I never spend any time fiddling with the digital performance of the work, to be honest. Because of this, the performance is decidedly robotic, but it still manages to give you an idea of the work as a whole, and I'm sure that your ear and imagination are good enough to be able to realise what it could sound like if it were performed by real, living musicians. (The audio attached is produced by Dorico running NotePerformer 3.) This work was recorded in January 2020 for Signum Classics with Kerenza Peacock (violin) and Huw Watkins (piano) at the Britten Studio in Snape Maltings. Sadly, I can't yet share the audios from that session, since the album will be released in March 2021 for the label's catalogue. Sonata for violin and piano in F major, R. 6 I. Adagio — Allegro assai II. Andante sostenuto III. Allegro con fuoco IV. Adagio ed intimo In my next posts I hope to share work with you that is still in progress so that any input from you will definitely have more weight than at this later stage in the work's life. Oh, I almost forgot! If you're interested in having a score to follow, or if I'm lucky enough that you'd like to perform this work in a recital or concert, please send me a message and I will happily oblige. Wishing you all the best, Rodrigo Ruiz
  17. 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
  18. Attached is the third movement of my piano trio. (yes completed before the second) I'm quite pleased as I wrote it very quickly for my standards. It's in minuet and trio form and is very short. please leave any thoughts down below.
  19. This is a piece I wrote recently about a nervous auditioner (I think that’s the right word) in an audition for area or district band. It is supposed to be more on the theatrical side with some instruments representing people. There are four movements, each representing a part of the audition process. I will explain each one in depth:
  20. Thanks for listening, I hope you enjoy.
  21. This is a piece I started composing last night after listening to String Duo for Violin and Cello in D major by Haydn. I felt like composing a piece in B minor for some reason, don't know why, maybe because I haven't really used B minor all that much in 3 years of composing. But as I started listening to it, it sounded more to me like a slow second movement than an isolated work. But what piece would have a slow movement in a minor key outside of the exceptions like Moonlight Sonata where the slow movement is the first movement and suites where the key relations aren't necessarily close? What I'm composing seems to be more like the slow movement of a sonata than a suite. I mean for one thing, piano sonata slow movements do tend to have this 2 melodies thing(bass clef melody as well as treble clef melody) that is certainly in my piece. And from all my experience listening to both solo and duet sonatas, not once have I heard a minor key second movement, although such a sonata probably exists. Anyway, what do you think of it so far? Starting at measure 12, I have a cello solo, as you can probably tell by me going into tenor clef for more than just a few bars and how high up in tenor clef it gets. I don't think the violin will just wait until the solo is finished, but I do want to give at least 1 measure to just the cello before I bring the violin back in in its low register and in more of the melodic bass role the cello had before the solo. I might change the "in B minor" part of the title if I do decide to go full on sonata with this piece. I might even change "String Duo" to "Duo Sonata for Violin and Cello" if I do that.
  22. Rileyt

    Indigo

    This is a piece I just finished. It’s more of a draft, and the main reason I’m posting it hear is for feedback and advice on how to make it better. As for the title, I have synesthesia when it comes to relating music and musical notes to colors, and this piece as a whole just really put the color Indigo in my head.
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