rachmaninoff22

Hi, I'm starting some chamber music, which I haven't done much of. I'm thinking about beginning with a string quartet. So how does one go about orchestrating the string quartet? Are there some good examples of standard string quartet orchestration (maybe Haydn, Mozart, Beethoven, Schubert, Mendelssohn etc.)? Are the four instruments playing like a choral, with counterpoint and harmony, or are they like a standard orchestra with 1st violin having melody, etc.? Any tips on how to compose a string quartet generally? The same goes for other chamber pieces such as piano trio, piano quintet, string trio, piano quartet, etc... I'm looking for good, easy to analyze, standard pieces that represent the normal form. And advice would be great also. Thanks.

I've been working on a few short songs lately. They are all in strophic form, which is, same music for each verse but different text. However, I want to try a through composed piece, different music for each verse. I looked at Beethoven's Adelaide, and I saw that really there is not much similar melodic material throughout the piece. The melodies aren't so short, but long and connected. Which leads me to my question. How do you compose through composed pieces? Do you just write different music and that's it? Or is it more complex. Also, I'm having trouble with my melodies and phrases. Most my music sounds like one phrase after another. I've tried using extensions and avoiding the cadence, but that's lead to lots of repetition and long clumsy phrases. One of the problems, I think, is that each part of the melody is too distinct and separate. I can't get them to flow together. Anyway, I'm thinking about Robert Frost's A WInter Eden. If anyone has suggestions or ideas, I would appreciate them. Thanks so much!

Hi, quick question. Can a piece be mostly in major (Db Major), but have the first and last couple measures be in relative minor (Bb minor)? Maybe I should rephrase this. Is is common for this to happen? I'll expand. Let's say a piece opens in Bb minor with eight measures of chords or something as introduction. Then the melody starts in Db major and the piece stays in major. Possibly, at the coda, a little bit is in minor, but the melody still ends in major. Then you have the chords again, thus ending the piece in minor. Please respond!! Thanks

Hi, I haven't been here in a long time. I was composing a short orchestral piece recently and I realized I really don't know anything about modulation. I have taken theory classes and understand the principles (pivot chord, etc.) but I don't know keys to go to. For example, in a piano piece, I wanted to link the themes and coda with a transitional passage with modulation. The piece was in Ab Major. I wanted to go to f minor and develop the motif in the different keys, but I really didn't know what keys to go to. I thought about Ab-Db-Bbm-C7 to fm-Db-Eb-Ab. But I don't know. Also, in my orchestra piece, the key was Bb minor. I have a fast first theme in Bb minor, a slow theme in major, a fiery transition in minor, and then a repetition of the first theme in Bb minor again. I want to put some parts in other keys, but I really don't know which ones. I thought about going from Bbm the relative major to either Eb minor or f minor and then back to Bbm. Do you have any suggestions about this, and about what keys are good to modulate to in general or for certain purposes.Thanks.

Hey Justin, just a quick question, how did you find that score on IMSLP? I searched already but never found it. Do you use google or search directly in the Library?

Does anyone know a site that has Strauss's Death and Transfiguration also known as Tod und Verkl

Hi, I wanted to ask, how does one create a certain mood or emotion? For example, if you want to make an extremely sad, dark piece, there's more to it that just putting in a minor key. You need to work on orchestration, themes, etc. But how do you go about this? Any advice and/or suggestions?

Hi, I know that when you have a pick up note, you have to subract that amount away at the end. What if you are using something like a thirty second note pickup. I am using it as a first chord. The same way that Beethoven did to open his symphony 2. He didn't subtract the time away, so if I do it, can I just follow Beethoven's example?

Enigmus, yes, I when I say 4 clarinets I mean 4 clarinet parts: clarinet 1, clarinet 2, clarinet 3, clarinet 4. And yes, Omar Sanchez and musicman02, you can be judges. Also, if you want to enter this competition, just give us a heads up. That way we know who is competing.

Hi, I know I'm pretty new here and not well known. I came up with the idea of having a certain piece, and composers here in YC transcribe it into either a different instrumentation or reduction. So how about we start with Schumann. I've heard that he wasn't a great orchestrator. Of course he was good but not as good compared to the other Romantic greats. So see if you can out orchestrate Schumann. We'll start with Symphony 4, that's my favorite. Just the first movement. Currently it is scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani, and strings. Just for fun, let's transcribe it for a wind band consisting of 4 flutes, 1 oboe, 4 clarinets, 3 alto sax, tenor, and bari sax, 2 horn, 4 trumpets, 1 trombone, tuba, and what ever other percussion you desire ex. snare bass drum, tam tam, xylophone, bells, etc. Here is the score. http://imslp.info/files/imglnks/usimg/0/0e/IMSLP28367-PMLP11051-Schumann_-_120_-_Symphony_n.4_d__fs_BH_.pdf Again, we're just doing the half the first movement, if you can;t do that, just part of the first movement, let's say up to rehearsal D. I'm not looking for the entire symphony, just your orchestration skills. I also need a few judges. I'll just pick the first people that volunteer. Oh, and of course, let's set the deadline at one month from now, May 23. there will be 1st place and second place, and if there are more contestants, a third and fourth place. Have fun!

Hi, I completed the piece that I had uploaded a few days ago. I have added some harmony and counterpoint, and orchestrated the piece for a woodwind quartet. Any opinions, advice, comments, etc. welcome. Feel free to say whatever you want, even if it is negative. I won't take it personally and I'm just looking for feedback. I'm not a professional composer, and I haven't studied composition in depth, other than some harmony, counterpoint, and orchestration. Also, I still haven't thought of a name for it. Any suggestions? 4shared - free file sharing and storage - share folder - My 4shared I deleted the old file, and put the new one on. I'm still trying to get the score on. Thanks for the help.

Anthony, yes, I mean that it is in the Dorian mode spacing, and the first note is Eb. So basically, Eb, F, Gb, Ab, Bb, C, Db, Eb. Note that Cb is replaced by C. I only asked this because I've heard of pieces with titles such as: Chorale in D Dorian, and Sonata in F Lydian, etc. Thanks so far, and any advice on the music?

And here's the link for the audio. Sorry, but I couldn't get the score on currently. I'm still trying though. 4shared - free file sharing and storage - share folder - My 4shared

Hi, I recently came up with a theme. I want to write it for woodwind quartet: flute, oboe, clarinet, bassoon. It probably will turn out as a short piece, one to two minutes. There is one part in the middle where the first theme comes back again, here I don't think it flows together; it's like something is needed in between. Any suggestions? Also, any advice on how to harmonize this, with countermelodies, other chords, etc.? Oh, I almost forgot. This is in the Dorian mode, but the tonic is Eb. What is this called? Eb -dorian, or Bb dorian, or what? Thanks.

Hi, how do you upload music to the site? How do you link it? I don't have a website. I'm using Finale Allegro, so how do I change that into a PDF file? Thanks for all the help.