Rowan Maurice

I will keep that in mind, I guess I can pick up a little quirks and things I can develop on that way; another problem I have really is utilising each section of the orchestra- knowing what to do with the instruments after already giving out the harmonic structure and not knowing which parts should not play or unison or have rhythmic variation. Starting with a piano accompaniment sounds like a good idea to get a feel for the harmony, like a small piano reduction?

I just thought it'd be a good idea to actually hear some of these choral pieces rather than just midi sounds, without having to pay fees to get them heard or have them sung by choirs which may not posses the 'correct' sound for them.

So, I've been really thinking about ways to really challenge myself as a composer and I would really love to work on composing an opera someday with a full orchestra. However, I feel I am not that good at writing for instruments as I am voices, not to say that I cannot do it- but I'm always unsure how to start or go about it. Also the piece I intend to write would aim to be between 10-15 minutes, hopefully, and would be a simple story conveying different moods in each section. Any advice on how to orchestrate effectively?

As a composer (if you choose to compose using the same instrument somewhere in whatever you choose to do), it helps you fully understand the technicality when composing with that instrument. It also helps you really fully understand the boundaries and what you can do with it and you can pick up your own little quirks and discover little tricks with your instrument. Fundamentally, your passion for your instrument may motivate you and drive you to compose (in my opinion); I love singing and from that it eventually extended to having a great passion and love for choral music.

I quite like that C natural, not completely sure on the harmony, but as it stands, it fits- but I feel it could be a lot more exciting... Having that C natural swell in out of nowhere creates a sense of mystery, instead of thinking 'I know where it's going' you could really get a good wave of chills with a good transition point ;)

I usually use whatever pencil I can find- and have a collection of as many I can find because I either lose them or snap their lead to the point I can't be bothered to sharpen them and waste valuable composing time :D As for paper- I print out the staves on on A4, I just prefer having it in A4, just so it's clearer and allows me more room to make mistakes (and so I can just plonk it on my piano and read it) and to change stuff or add notations. Daft reasons, but still- I love A4 because you can find it everywhere.

I was walking on a nice warm summer's day when the idea just came to my mind because I was thinking I really want to find a way to perform my pieces and perhaps even perform other choral works that others have done and record them as cheaply as we can... (Because I am cheap and only a Student!) So, what about a few Skype rehearsal sessions and then a performance- and then a few others could help by tweaking recording, working the tech department. What do we get out of this? Experience and the chance to listen to other works and perhaps have the chance to shape your music during those Skype rehearsals. I probably wont be able to cover all the pros and cons to this, but I'll be brief and leave you all to add reasons why and why not this could be a good idea- One problem I see is finding a good time for every singer to do these rehearsals and then the performance. And potential connection problems. Despite this however, if we're successful it could be incredible- probably not one of my pieces, but somebody else who's a complete genius and masterpiece maker! I would suggest in order for it to work, we'll need one conductor/MD (obviously), perhaps 2-4 on each section (maybe more depending on how large-scale the piece is, chamber or full), a tech guy to record the skype call... Maybe even an accompanist? Thoughts?

Well, yes- when I wrote the poem I wanted to go for something passionate yet almost sorrowful, tearful- as the opening text is 'I reach for her, I reach for her; words but and echo, birds yet to sound' and it feels right to have that specific direction :D

It no longer matters as I chose to change the expression, I have replaced it with: "Grave; delicato e lacrimoso" would this be considered correct..?

I am unsure if I've got my Italian correct with the opening page of my piece; would it be Grave con delicato e leggiero?

I have been working on this piece for just over a week now, and I pretty much completed the second page last night, however... I am unsure if it flows, as I have spent too much time on it I feel that my ears are fatigued and just used to it. Should I not have the key change...? Is this development section relatively decent..? http://www.youngcomposers.com/music/4477/i-reach-for-her-a-girl/ - Score is included, listen to the midi_mockup, as the first track is a real recording. Please let me know if this material works.. I feel that it does...? But, I would like some input nonetheless...?

Structure - I find it difficult to make a piece flow, and often I rush because I get over-excited about a specific section and I don't take my time to have it spread for a long period of time, out of fear. Development, I often spend a long time writing out my motif and then trying to shape it but never feeling quite satisfied with the end result. Modulation- I always want to experiment with a variety of different keys to convey different moods and feelings- yet