maestro

I started composing this a year ago, but have just gotten around to finishing it. I dedicate this song not only to my friends from over the years, but also the Tomah High School class of 2011, I'm in the class of 2012, so they've been with me for the past three years of my life, and i've made countless friendships with them. I hope you enjoy this as much as I do. Memory

Another piece about rain, i know, but with this comes a very important story. One of my friends was working on a clarinet solo for 6 months straight, this piece was her LIFE. At our recent solo/ensemble, when she performed not to her best ability, she was crushed. She was even more devastated when she found out she had gotten a 3, a rating she had NEVER gotten before, and in addition, she was not ablt to continue on to state her SENIOR year, even though all of high school she has gone (for clarinet solos, i might add). I composed this for her, because i know how hurt she was. I'm telling her that through the rain (meaning hard times, tears, etc.) she will always be appreciated, even if the judge couldn't see that. And after the storm, a rainbow (a better day) will follow, and the fruits of her labor will be rewarded. I hope you enjoy this. Through the Rain

jeneca, i know it's hard hearing that something you've worked really hard on being critiqued and analyzed, broken down and picked apart. but the harsh reality is that you NEED that critique or else you will never further yourself as a composer. i perfectly understand that being new means that you're not the most experienced in composing, but the critique that others have given you is just the same as any critique given to the most experienced composer on YC. Elizabeth is right, there is no personal attack on you that comes with this critique. what i do, is i look at all of the positive feedback the piece was given, to remind myself that there were things that i did right, and then i look at the negatives, and i take the sum of them and use it to what works for me. so keep composing, and you will improve and then maybe oneday you will have a piece with little or no critique, but that can only happen if you push on when your pieces come under scrutiny. happy composing! Nick

I do like the new edition of this piece (esp. the last 3 measures). Although I have to ask why did you speed it up? To me, it felt very rushed, like you were in a hurry to get somewhere, and i didn't really enjoy that feeling. But i think that changing the 2/4-11/8 from the previous work to a simple 7/4 measure was a very good choice. and then the rhythm change at m.59 was genius! i can tell you've been working on perfecting this piece, because the little changes that you've made have made all the difference!

well, since I'm playing Syrinx for a flute solo this year, i very much enjoyed this. I think you very well portrayed a saturday morning, the staccato eights and chromatics definitely colored a very accurate picture. My one negative, and i feel so bad for saying this, but it doesn't really remind me of syrinx *hopes you don't kill me*. One thing i noticed is that you put this in a major key, where as the original piece was in a minor key, and that right there detracts from the mystery and odd-ness of it. Like i said, this is not bad at all as a piece by itself, i just think that syrinx could've taken a more dominant role

I loved the voice line, you always come up with the best lyrics! As far as the length of this piece, i think it's in dire need of a B-section. It's pretty, but it's not long enough. I like the violin part, not that challenging and it adds a nice 'something extra'. The piano i think is pretty too, but at m20 it's just too much, i start paying more attention to it than the singer. I would start working on balance between the parts, it's so important that you have a good blend of the soprano-alto-tenor-bass voices. For example, at places like m32, the violin part is playing higher than the voice and continues to play at equal register with it. This is generally a no-no, the only time the accompaniment plays higher than the voice is when the voice decrescendos and is either no longer important, or is just taking a break. You have this at m20, so you do have the idea of good balance, just incorporate it more throughout the entire piece.

The PDF file is right below the audio recording and right above the "Users that viewed this piece". If you're viewing this in the Forum, that won't help you, click on the Danse Macabre link that has musical notes next to it.

It doesn't matter what order they're in on a score, it's just a piece of paper. Besides, it's not Jess is publishing this piece for public use or anything. Same thing with the beams, I don't know how they can be broken up on Finale, if you are a user, then maybe you can enlighten me on how to do it. But i'm not sure why you think they should be broken up, it doesn't help the musician at all i'm pretty sure they can count how many notes there are in a beam if you think it's not "characteristic" of slow songs, that's your own idea and you can use it whenever you want.

Very nice arrangement Jess! In response to Peter's comment about articulations and slurs, he took the words out of my mouth. You have an understanding of chords and dynamics, but you do not indicate whether or not a player should emphasize a note or whether or not or whether they should be legato or staccato with their articulations. Now the Horns being before Trumpets in the score doesn't mean anything, it looks like you used Finale to do this, and they always arrange parts like that, so i wouldn't worry about that. Same thing with the beaming four eigth notes together, Finale does not allow you to break up beams (at least not to my knowledge). So keep composing, but start to incorporate more complex phrases and, pretty please, articulations!

I do play horn, and my teacher told me the same thing, don't use Bb unless you're at a middle Ab or higher. But i agree with you as well, the extremely low register is easiest to play in Bb, i would do whatever works best for you, if you're teacher doesn't comment on it, that means it sounds the same, it's in tune, and it doesn't matter as long as you can play the note. If he does, howeverm then i would just keep practicing the low register, eat, live, and breathe the horn's low register until you master it in F. ;)

I'll give this a try, if i may :) *EDIT* I tried it, and it didn't work out, i just have too much stuff i have to work on :(

I don't like Justin Bieber either, but this is a good arrangement of that song. Good job.

Yes it is.

I hear that. I've been anxiously waiting for 2 weeks for the resulsts to be posted and I'm getting fed up.

Yes, my avatar is a picture of me. My piece sounded like circus music? really? That's not what I was aiming for but if it works I'll roll with it.

Here is my entry (at last!!) http://www.youngcomposers.com/pg/Music/maestro/composition?entry=51248

This is my submission for the August competition. One theme, 3 variations. August Competition Entry

Well, at first glance, D flat major is a difficult key signature to get acquainted with, especially for a beginning pianist. As far as the notes go, don't you think that the octave in measures 27-28 is a bit optimistic? The runs in the bass are okay, but with this key signature, they can become very difficult. Since I myself am a beginning pianist, I find this composition to be a bit to difficult in its techincality. Just my opinion and my own experience with pianos.

Isn't this piece also called Psalm 46? I played a piece with the name Psalm 46 with my band last year and it sounds a lot like this. Anyway, I'll give this a shot, ideas are already coming.

As a piano piece, this is beautiful, and simple But it's not for a beginner, however. The handspans that you have throughout are pretty difficult for a beginning pianist, and the runs that you have at the 12/8 are definitely too advanced for a beginner, unless they take it at a really slow tempo. Also, when you have both hands playing, for a beginner you want one pitch, chords aren't learned until the pianist has begun to feel comfortable playing the piano. Like I said, it's a good piece, but only for intermediate players.

Personally, I thought this one was the best. I couldn't resist the urge to get up and start dancing 10/10

If you give me salsa, then I'll be your best friend? Three words: FAN-TAS-TIC!!! I haven't laughed so hard since, well, I've never laughed so hard in my life!! But beware serge, whenever you come up with an awful piece, I just have to out do you (or at least try) This piece was horrible, insane, obnoxious, and downright idiotic...GREAT JOB!!!!!

I'd go with the third one, it sounds really dreamy and airy.

Thanks everyone Now in response for the whole rest fermata, that measure I meant to be a grand pause, so the audience can take in the huge climax and be ready for the quiet section afterwards. Also, my notation software doesn't recognize caesuras and plays right past them. The crash at the beginning, I know it's a little awkward but I can't imagine the piece without it, I think it perfectly symbolizes the fatal accident that took Jesse's life. Once again, thank you everyone who has given me advice and critique so far.