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  3. Community

    1. Masterclasses

      Contains a selection of Masterclasses.

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    2. Music Appreciation: Suggest Works or Articles

      Suggest works and discuss past and/or present events, for the sake of Music Appreciation.  Link to YouTube videos, iTunes links, online articles and composers websites.

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  5. Technological

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      Young Composers has developed a new music software, with a focus on speed, playback and ease of use.  This forum will be used for support, sales questions and bug submissions.

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    2. Music Notation Software Help and Discussion

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  • Works With Few Reviews

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  • Topics

  • Posts

    • Sojar Voglar
      A Bluebonnet - Art Song for Voice and Piano

      By Sojar Voglar · Posted

      Firstly, stylistically, I do not like the separated flags for each syllable. To quote "Some guy that writes music", in the past the notation of separate flags was common but recently it has been abandoned in favor of proper beaming. And I like that, even myself as an experienced choral singer I have always prefered now popular prober beaming notation. This composition requires a skilled singer with large range, but they do exist. Generally, it is nice music, well suited to the poetry, the form is also balanced. I prefer more trips towards chromatics and extended tonality, but that's my personal approach.   
    • JorgeDavid
      Cmaj/min Draft for String Quintet

      By JorgeDavid · Posted

      Thanks, @PeterthePapercomPoser. I browse through the forum from time to time, although I do not have much time to listen lots of things attentively :S. I have bookmarked some of your "20th century harmony" exercises because I am interested in trying to study that book and I loved some of the ones you made. Will probably comment on some of those when I have a little time to analyze the scores! (and probably use them as examples to compose my own exercises!)   Somehow I feel it is too short and that it stars too abruptly so I was thinking about options to extend it. You pointing out about the "double exposition" made me realize that, what I currently have, might be understood as two different themes (or parts of a theme) starting in m.1 and in m.7.  I might play around with some different forms but I was thinking on extending those ideas into full themes and then playing them like this:  A section 1. Theme I in Cmin 2. Theme II in Gmaj (or minor) B section (The section I have composed).  1. Theme I in Cmaj with sudden transition to Theme II in Cmin and coda. I am not sure if it would be a valid form or not, I guess it would be like a binary piece based on the exposition + recapitulation of a sonata form.  Maybe I end up failing and just adding a final chord to what I have now. But I will give it a try. Thanks for the feedback!
    • Sojar Voglar
      Waterlily Sonatina for Flute

      By Sojar Voglar · Posted

      I have several questions: How experienced you are as a composer? The answer would make me a lot of easier to comment this Sonatina. How come the flute part has zero dynamics, articulation and interpretation marks? Have you ever heard about the chromaticism in music? This Sonatina is more like a three-pack of sketches rather than an accomplished composition.
    • full-moonbeam
      Made in a day. From sketch to full orchestra, drums, synthesizer and choir

      By full-moonbeam · Posted

      I like how it became more intense throughout the song. Cool.
    • Some Guy That writes Music
      A Bluebonnet - Art Song for Voice and Piano

      By Some Guy That writes Music · Posted

      This is beautiful. I love this piece very much as it is. A couple notes as a trained singer.  Firstly, stylistically, I do not like the separated flags for each syllable. It's common in music, but all it does is give me extra work because i have write in the beaming myself. The reason this was done historically was because words were jammed into the score as tight as possible, because printing pages cost money, and often times syllables would become unaligned with their notes. Vocal beaming was a solution because you could just beam together when you aren't moving to the next syllable. This is no longer an issue because one more page won't hurt. So please do not do "vocal beaming", it's outdated and disliked by most singers.  One of the above comments worried about breath, and I'm not worried, there is only one place I'd breathe where you don't have a rest, and that would be m. 57 b. 3. It's a long phrase with a mood change halfway through the phrase.  I also agree that the piece is a bit rangey, but I would just make note of that for the next time you write. I'm a believer that most art song should be maybe a 10th wide. The main form which these pieces being performed are 1. Amateurs singing one song in a recital with their peers (they have a less extensive range) 2. Professional recitals that an hour long, and need more pieces that are easy than are hard.  m. 10, skipping on a "ing" will feel quite weird for a singer, and considering is written for tenor/soprano (but definitely works better for a soprano voice) that f will be right on the passagio for most voices. Shifting the "on" one eighth note forward would be easier to sing. It's a little displeasureable to sing, but also the general mood is quite cute and bouncy there so it's not bad writing.  m. 36, if you're using traditional vocal beaming (as you currently are) you do not need this slur. In vocal music slurs mean the same thing as your beaming. If you want legato, put it over the whole phrase, or write the word legato.  Overall I think it's wonderfully written, my biggest concern is the range, even I myself would have to think about whether or not I would put this on a recital because if it's difficulty in that area. 
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