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Found 19 results

  1. Hey Guys, I worked together, with a talented singer, Ashley Serena. I composed an original piece of music for a poem from The Lord of The Rings saga, Riddle of Strider.
  2. Hello Again, It's just a brand new typical "aah" vocal piece of music. I think the video is pretty cool, and fit the piece. I used medieval instruments again.
  3. NEW SONG RELEASE! Tonight meet me in the garden "A song about grace and love" Tonight meet me in the garden is a song about grace and love, and about being aware of the desperate and constant need for the Savior. ”In the middle of deep pain, sorrow and walking astray, when one’s faintly burning wick is just about to fade out, when one whom almost given up finally remember his love, the fragrance of flowers returns to life - once again.” ”Would you catch me Mashiach if I fell Would you leave the nintynine If i went astray Would you love a sinner Like me that way” (From the songlyrics) LISTEN ON YOUTUBE MUSICVIDEO https://m.youtube.com/watch?v=KAx6kCjUVRQ Download the song for FREE here: www.mariabencic.com ________________________________ Song title: Tonight meet me in the garden Song written and produced by: Maria Bencic, 2023 Vocals by: Maria Bencic LISTEN ON SOUNDCLOUD (download able)
  4. Some info about this piece: It’s based off of the poem by Paul Laurence Dunbar titled ‘Invitation To Love’. Unfortunately because of the program I use the performers in the audio file don’t sing the lyrics (words to the poem). This is the first piece of music I’ve written for a vocalist. Typically I only do instrumentalists and I didn’t know a lot at all about vocalists when I wrote this. I am essentially teaching myself, so if anyone has advice for writing for vocalists please help me out! Hope you enjoy!
  5. Wow, it's been a while since I've been on here! So I'm close to finishing my second vocal piece, and I'm having a little bit of writer's block in the accompaniment line for the bridge. I've got chords in the bass clef, but I can't seem to figure out what to put in the treble clef. If anyone could help me get over this slump, I'd really appreciate it. And as always, general constructive criticism is welcome. Update (December 10, 2019): I had a friend of mine help me out today, so at least there's actually some stuff in the accompaniment line for the bridge now. But it's far from complete, so I'm posting the updated version on here for critique.
  6. Hi, im a college student mayoring in music composition. This year Ive been attending a class about composition over poetry. The thing is this class was not very good. Most of my college mates agree that most of the time in class was wasted, and that the professor we had wasn`t very good and had no idea how to keep us engage (unlike most of our college professors). Anyways, this professor insist in the importance of keeping the stressed syllable in a strong time (first or third beat) everytime. I consider this is a very generic way of working over a text. Sometimes in music you can place a "stressed" note or chord in a weak beat, and then release the tension of that note or chord on a "strong" beat, than in this case will sound softer in comparision. 90% of Mozart`s cadences work this way. If this can be done with "instrumental" music, why can`t it be done with a piece that includes text? I have to comply to my professor demands in this regard and place every stressed syllables in strong beats in the works im presenting to him, but I doubt this rule has to be abided every single time. Id like to know the opinions of other composers who composed vocal pieces. Is my professor %100 right or is there room for this rule to be broken?
  7. Hi everyone! This is my first vocal/choral work to post here so far (If I don´t count a jazz song with my vocals which I´ve posted in the jazz section before). I wrote this one for strings, piano and soprano, for a talented Croatian singer Hana Huljić who also happens to be a great composer aswell. However, this is still a demo and the singer on this demo did not have any experiences with singing opera before and she is not a soprano, so it was a bit high for her, but I still love her performance very much. She´s a friend of mine and was very willing to sing the demo for Hana, I´m very thankful to her. I always loved Ave Maria songs, especially the Schubert one, and I always wanted to write one myself one day, and the day has come. Since there are so many Ave Maria already, I decided to write it for "Zdravas Mária" which is the Slovak equvivalent of the prayer. Please let me know how you like it!
  8. Hi everyone!!! This was one of my first works i 've done in the past few years and i would be very very glad to share it with you There are two parts: the first one, from 00:00 sec to 03:44 sec & the second part from 03:44 sec to the end of this track. This part (the second) took me over 3 months to find the right notes of this -orchestral strings- melodic uplift. This music includes Chorals, vocals, orchestral strings, piano and xylophones. Thank you for listening! -Ampnoe's-
  9. I want my food, therefore I'll upload here my idea for choral music piece. I'm not sure if this one is going to have words or not, will think of that later and you can say your opinion about it. My questions for you: 1. Is that a good idea? (melody harmony etc.) 1.2 If not- what should I change? 2. How should I continue this piece. I mean, it's just two ideas presented one after the other and then together, it isn't a real music piece yet. so... what should I do with these materials? Thanks :P *Lets see if you notice the big difference between the pdf and the audio ;)
  10. Not sure if it fits in the topic, but here is a vocal cover with orchestration of The Rains of Castamere from the Game of Thrones series. Hope you like it and Id like to hear your thoughts!
  11. Hello everbody, This is my first serious choral composition, which I composed to practise counterpoint and voice leading. The piece is an Ave Maria, but the language is Dutch, which made it quite hard to compose music on. It is a hard language regarding accentuation. Dutch text: Wees gegroet, Maria, vol van genade. De Heer is met U. Gij zijt de gezegende onder de vrouwen, En gezegend is Jezus, de Vrucht van Uw schoot. Heilige Maria, Moeder van God, Bid voor ons, zondaars, Nu en in het uur van onze dood. Amen. There is trouble with the audio in this topic, so here is the link: Nevertheless, I am pretty content with it. What do you think? Tips are welcome! Maarten
  12. I wanted to create a dark and romantic mood in this song. The lines are short on purpose. I wanted simplicity, going for emotion as opposed to making a statement. I look forward to your feedback.
  13. This is the first of three vocal chamber pieces I'm working on. They're all based on and adapted from ancient Norse poems (translated into English). The Incantation of Hervor relates the story of a valiant young 'shield-maiden' (Hervor), who visits the burial mound of her father (Angantyr) to demand that he (now a ghost/wraith) give her his magic sword, which she considers her inheritance. I've never written a piece with vocals before. It was certainly a challenge to get the lyrics to match up with the music, and I had to make some minor alterations to and omissions from the original text (but the spirit of it is still there). I realize there are no slurs and not many expressive markings -- this is just a first draft. Any feedback, comments or criticism is welcome! Thanks for listening.
  14. This is my first time posting on this site! Just looking for some feedback/suggestions on a few pieces. Unfortunately, all I have is a MIDI file for sound, so I suppose that will have to do. Thanks in advance for any comments! P.S. The midi recording has some strange mistakes in it. Most likely because of not wanting to double up on accidentals when different layers in each part share a note.
  15. Opus 9, Madrigal no 1, written for SSATB(lyrics : Bright Star by John Keats). Full album cover and more music available here : https://www.reverbnation.com/mademoisellelilaclucrezia Opus 9.mp3
  16. The New Music Conflagration, Inc. seeks original works of three to six minutes with the themes of solidarity and community in efforts to build a stronger bond, between all, through the universal language of music. A public concert will be presented in December 2014 at a venue in the Saint Petersburg area. Selected compositions will also be professionally recorded and presented on The New Music Conflagration, Inc.’s website. Composers may submit one work per category: Solo Voice, A-cappella Choir, Choir with Accompaniment. Instrumentation by category is as follows: Solo Voice: Mezzo-Soprano, Electric Guitar, Electric Bass, Piano, Drum Set A-cappella Choir: Soprano, Alto, Tenor, Bass Choir with Accompaniment: Male Solo, Female Solo, Chorus: (Soprano, Alto, Tenor, Bass), Electric Guitar, Electric Bass, Piano, Drum Set, Cello, Viola, Flute Composers are not required to use all the instruments/voices in a given category. Composers of any age or nationality may participate in the open call by submitting to the the appropriate division either: Student, Amateur or Professional. See application website for more details.https://thenewmusicconflagration.submittable.com/submit/ http://thenewmusicconflagration.org/ Deadline: 16 Apr 2014 Entry Fee: 7.00 Currency: U.S. Dollar (USD) Web site: https://thenewmusicconflagration.submittable.com/submit
  17. Cerddorion Vocal Ensemble 2014 Emerging Composers Competition http://cerddorion.org/2014-emerging-composers-competition/ The Cerddorion Vocal Ensemble is pleased to announce its second annual Emerging Composers Competition, designed to foster the creation and performance of new works for mixed chorus. Submission Guidelines Works must be: Scored for SATB a cappella (some divisi acceptable); or Scored for SATB and string quartet; or Scored for SATB and solo violin, viola or cello, or any combination of these instruments Approximately 3-5 minutes in length Unpublished and unperformed Submission of midi realizations is encouraged, but not required. Works will be premiered in March 2014 as part of a program entitled Language of Birds, featuring a piece by the same title for choir and string quartet by Veronika Krausas, as well as Janequin’s Chant des Oiseaux. Some preference may be given to pieces that fit this theme. Eligibility Composers should be in the early stages of their professional careers, without substantial publishing credit, national awards or commissions. There is no age limit.
  18. Hi there! I'm working on arranging Eleanor Rigby for my college A Cappella group. It's my first arrangement, indeed my first composition, that I've ever finished and that will ever be performed. So far, however, I'm not terribly pleased with how it sounds, and I'm not sure why. I was wondering if you guys could take a look at my work and give me some suggestions on what to change, and what might make it sound better! Thanks! We started learning it Monday, and... it's ok. But it's not great, and I don't know why. Something's off about it. Now, I think some of it might be that we're still learning it, and don't have great sight readers. But I'm concerned that some of the problem is the arrangement. So if you could give me some advise that would be very appreciated! Eleanor Rigby.pdf Eleanor Rigby.mid
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