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Hello, I am really interested in composing graphic notation music, so I searched on the internet for a free notation software that has been designed for this purpose. Unfortunately, I could not find anything. Do you know a graphic notation programm? If so, what is the name and where can I find it? Thanks! Maarten For example:
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Hello everybody, Would it not be fantastic if Young Composers had its own special Magazine composed by the creative members of the forum? Since a few weeks I have been thinking about this idea. I already made a few magazines with the free program called Jilster (https://www.jilster.com/). The advantage of this program is that I (as a chief editor) can give specific pages to other people so that many people can work on one single magazine. The program is very ergonomic: I learned the things I needed to know in one hour of experimenting. Because the idea is still quite vage, I decided to schelude the magazine. This link leads you to the magazine in which you can see the topics I would like to include. https://jil.st/YoungComposersMagazinePreview Before I begin to write for this magazine, I would like to know if you would appreciate it. Could it be an valuable addition to the forum?I would also like to know if some of you are interested to help me. If you want to write about a topic that is not mentioned in this megazine scheme, do not be disappointed. I can give you several pages on which you can write about what you want. Furthermore, if you are interested send me a private message. I am very enthousiast, but of course we all have to be! Please be honest. Maarten *I know that not everybody has all free time to spend on writing and laying out the articles (including me), so there will not be a deadline. It is something extra and it has no priority.
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Hello everybody! I am very busy with my final exams and auditions, so that is the reason why I have not been online for a while. Anyway, I composed a new 'neoclassical' composition for string quartet. Each movement is based on the letters of one of my friends' name. I used the letters A, B, C, D, E, F, G and Ut, Do, Re, Mi, Fa, So, La, Ti. The duration of each movement is pretty short, because I wanted to have the movements in balance. Some themes are namely pretty hard for me to compose more than two minutes. Enjoy and please comment! Sharing your opinion means a lot too! Maarten
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Hello composers! This will be the place where I will share one classical composition including saxophones per week. The videos are not mine! As a saxophonist, I notice that still many composers do not use the saxophone in classical music. The most important reason for this is because they do not know how to apply the instrument. I often get the question if I could give some study advices for saxophone writing. My answer is always that one has to listen and study the works of our predecessors. This topic is meant to inspire and stimulate composers to write more music for the saxophones. Contents Graham Lynch - Unreal Promenade for Saxophone Ensemble (2015). Jean Françaix - Cinq Danses Exotiques for Alto Saxophone and Piano (1961). Georges Bizet - Suite No.1 from the drama l'Arlésienne (1872). Claude Debussy - Rhapsodie for Saxophone and Orchestra (1901 - 1911). Slava Kazykin - ''Bachiazzola'' for Saxophone Quartet (n.d.). Mark Watters - Rhapsody for Baritone Saxophone and Wind Orchestra (2001). Iannis Xenakis - XAS (1987). Mozart / Arr. Niels Bijl - String Quartet No.15 in D minor, Kv. 421a. Paul Creston - Sonata for Alto Saxophone and Piano, Op.19 (1939). Erwin Schulhoff - Hot Sonata (1930). Carter Pann - The Mechanics for Saxophone Quartet (2013). #1 Graham Lynch - Unreal Promenade for Saxophone Ensemble (2015). More information in the description of the video. Best wishes, Maarten Bauer
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Hello! For some workshops at the conservatorium, I needed to write a very simple piece based on world music. So I decided to write my third melodrama about the fairy tale Ali Baba and the forty thieves. I did not compose a piece about the whole fairy tale, because it needed to be a short piece. The composition ends with an open end. The number of instruments can change, so I decided to cluster the instruments as much as possible. Here is the Dutch text with translation: Ali Baba is mijn naam. Ik ben de rijkste man in heel Perzië. Hoe? Dat zal ik u eens vertellen. Op een dag reisde ik door de woestijn. Het zand brandde mijn huid en de zon verblindde me. Ik besloot met mijn kameel even te rusten in de schaduw van een rots. Totdat ik stemmen hoorde. [Spreek Arabische klanken] Ze zagen eruit als rovers. Ik volgde ze na. Ze liepen naar een rots. En ze riepen ,,Sesam open u!'' En de rots brak open. Toen de rovers binnen waren, verstopte ik me achter de rots. Ik wachtte tot alle veertig rovers weer buiten waren en in het donker sloop ik naar de magische rots toe. En bij de rots aangekomen riep ik de woorden ,,Sesam open u!'' De rots ging open en ik ging naar binnen. Binnen kon ik mijn ogen niet geloven. Bergen met goud, zilver en edelstenen. Ik ben steenrijk! Wahaha! Maar hoe krijg ik het mee naar huis? Ali Baba is my name. I am the richest man in whole Persia. How? I am going to tell you. Once upon a time, I traveled through the desert. The sand burned my skin and the sun dazzled my eyes. I decided to rest a while in the shadow of a rock. Until I heard voices. [Speak Arabic sounds] They looked like thieves. I followed them. They walked to a rock. And they called ,,Open sesame.'' And the rock broke open. When the thieves were inside, I hid myself behind a rock. I waited until all forty thieves were outside again and I sneaked to the magical rock in the dark. And arrived at the rock, I called the words ,,Open sesame!'' The rock opened and I entered. I could not believe my eyes inside. Mountains of gold, silver and jewels. I am rich! Wahaha! But how am I going to bring this all home?
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Here is my piece for the theory course 302a Bartók. The inspiration for this piece is, of course, Bartók's Mikrokosmos, but I was also inspired by Friedrich's Der Wanderer über dem Nebelmeer, which is shown below:
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Hello everybody! I have decided to compose an introducing overture for Shakespeare's tragedy Macbeth. It's for my thesis for music. With the music I have tried to make the characteristics of the main charachter Macbeth clear to the audience. To develop myself, I always try something new with all my compositions. So, I sometimes write for a completely new instrument to learn more and to develop my skills. This time I wanted to write a piece, which is based on five themes: Ambitious Noble & loyal Cautious Brave Opportunistic On the basis of these five themes I composed the music. The inspiration for this technique came from Strauss' Till Eulenspiegel: https://www.youtube.com/watch?v=1zbCfP9wGt4 In the scherzando finale I want to emphasize that, although Macbeth is a tragedy, the play ends pretty optimistic. Scotland the brave is played when Malcolm becomes the new king of Scotland. Huray! Although I am not very satisfied with the result, I like the experience with this completely different idea of only using themes and motifs for an entire play. Enjoy! Maarten *The audio is not exactly the same as the score. *Score in C.
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Hello! [Partly the description in the program booklet and youtube video] Maarten Bauer – Melodrama No.1 ''The End of His Story Started Here,'' Op. 45. 11th of August 2017 Dedicated to all the victims in concentration camps during World War II. The music begins at circa 2:00 On the 18th of November 2017 (one of the) most prestigious composition competition(s) in the Benelux took place: Prinses Christina Compositie Concours. I submitted my Melodrama No.1 ‘’The End of His Story Started Here’’ and to my surprise I won the first price of competition! I cannot express my gratitude for the judges, the performers (Trio Burlesco+) and the audience! Furthermore I would like to thank the other participating composers for the amazing experience and relaxed atmosphere during the stressful day. Description This melodrama uses the poem, which I have written in 2014 (see the text below), based on John Boyne’s astonishing book The Boy in the Striped Pyjamas. This composition is composed for the Trio Burlesco and a soprano and a percussionist (Trio Burlesco+). The text and music strengthen each other, so none of the two can be omitted. The innocent soprano is both narrator and singer and she symbolizes the actions, the emotions and the thoughts of the main character in the poem: Shmuel. Shmuel is a Jewish boy, who has just arrived in Auschwitz, which is called Out-With by Boyne. He does not know where he is and he cannot find his family, consisting of his father, mother and his big sister, whom I called Anat, which means ‘singing.’ The motivation for me to write such a heavily-weighted piece, namely an innocent young boy who will probably die in a Nazi concentration camp, is because I noticed that people in my surrounding realize less and less that freedom and peace are not obvious. It is the greatest gift that we can live in freedom and peace in the Netherlands. I noticed that this important consciousness gradually drains away by the years. Therefore I wanted to compose a piece, which remembers us that we have to be grateful for the lives we now live and that the indescribable terrible crimes may never be repeated. When I wrote the poem, my tears flowed. When I composed the Melodrama, my tears flowed. And now again, my tears flow, because this may never happen again. Never. https://christinaconcours.nl/alles/9667/
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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
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Hello everybody! I just finished my Piano Concerto No.1 ''Octaves'' in f minor. The Concerto consists of only one movement: Allegro con brio. The music is, of course, written for piano and string orchestra. The goal for me to write this piano concerto was to learn more about how to write for piano and how to write in a more classical, early romantic style. Note that I added some more contemporary elements as well. The concerto is in free Sonata Form: Exposition - Exposition repetition with piano (classical) || Development (many more modern elements) || Recapitulation without the second theme. I ommited the second theme in the recapitulation, because I felt like this theme was already 'mentioned' too frequently. Furtheremore, ending with the first theme sounds fine to me. What do you think about the music? Particularly the development? *The lay-out of the score still has to be done. Piano_Concerto_No.1_''Octaves''.mp3 Maarten
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Hello everybody, Since I am Dutch, I am very interested in Dutch art, like architecture, painting, design and... music. In the Dutch Golden Age (17th century) Holland ruled the seas and the painting art, theater and literature flourished. Holland was the place to be. Vermeer, Rembrandt etc. Also after this period, Dutch artists were very succesful both nationally and internationally. Think about Van Gogh, Mondriaan etc. However, I suddenly noticed that Dutch composers are not very well-known (or succesful). Germany has Bach, Mendelssohn etc, Russia has Stravinsky, Tchaikovsky etc., Austria has Mozart, Beethoven, Schubert etc. France has Bizet, Debussy, Ravel etc. And so on... The only well-known Dutch composers are Sweelinck and Andriessen. Why are there so few famous Dutch composers?
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Hello everybody, Maybe this will just be my outlet topic for this horrible assignment for school, but perhaps this topic can turn into an interesting discussion. Since I have my final exams this year, I have to do a school research project, like all other pre-university students in Holland. Obviously, I chose the subject Music, because the assignment is then to compose a composition for a professional ensemble. It sounded like a lot of fun, but now the problems have begun... The assignment for Music is to write a plan, in which you describe what you want to do with the music, before composing a single note. The teacher asks for which tonalities, which orchestrations, which themes, which time signatures, which tempo etc. What do you think about that? I always compose, while composing, because that is my way of composing. How can teachers expect from students to write a document containing 10.000 words about the music (in one week), before composing a single note? Greetings from a desparate composer
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Hello, I composed this little piece in response to a challenge on the forum to write for a combination of two instruments based on your birthday date. At the same time, I used this piece for an exercise, I gave myself: write a piece in less than 15 minutes. My combination was the Violin and the Horn (in F). I tried to keep the atmosphere very light, yet interesting. The music has to be funny, because it is a 'birthday song,' so therefore the Allegro scherzando and no very heavy harmonies. Sharing your thoughts is very appreciated! Maarten
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Hello everybody, Yesterday, my grandmother and I were talking about classical music. My grandmother told me that she want this piece to be played at her funeral, but she does not know the name of it, nor the composer. The only thing she has, is the video with pictures of gardens. The video is called ''Jardins pour rêver.'' She said the composer is French, but I am not sure. I cannot attach the file, because it is a PPS file and I do not know how to extract it without losing the audio. Therefore I have recorded it with my smartphone microphone. Please can you help me (and my grandmother) to find the name of the piece? She would be so thankful! Maarten
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Hello everybody, Here is a piece that I have just picked up again. This Piano Concerto is meant to study the classical and early romantic piano concerti. I arrived at the development section, but I feel like this movement is going on forever and it bores me. Does it bore you too? If so, do you have any advice how to improve the action? The development section is pretty abstract for me in piano concerti. Do you have some suggestions that I can make in the development section? What do you think about the piece so far? I look forward to your response! Maarten Piano Concerto No.1 ''Octaves''.mp3 Piano Concerto No.1 ''Octaves''.pdf
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Hello everybody, You may have already seen the two other topics about this quartet. One is about the sketch, which I had to make for the selection rounds of the composition competition. The other one was about how to create a climax and how to continue and finish the piece. Finally, I have finished the piece and to be honest I hate it. I have heard it so many times and it was terribly hard to finish the piece and include a climax. @Luis Hernández I hope that there are more vertical lines and there is a clear climax. The piece is about Europides' Medea. More information in the PDF attached to this post. The notes on page still have to be changed. There are a few themes and motives exposed in the beginning and during the piece I develop them in many ways. I have, for example, included a Fugato structure, where the theme is a based on a motive in the beginning. I am very sorry that the instruments sound so fake. . . If anybody knows a decent soundfont for saxophone (quartet), please let me know! Thanks for listening! Feedback and comments would be very nice! Maarten
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Hello everybody, I would like to know if it is possible to use TWO piano pedals at the same time, for example: Sustain pedal + una corda to have the mysterious mood of the una corda continued by the sustain pedal. Like: Kind regards, Maarten
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Hello, I am writing a composition including Cello and I would like to know if the double stops below are playable. Please help me! Regards, Maarten
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Hello everybody, This was my first saxophone quartet that I composed one and a half year ago. . . (Opus 8). When I composed it, I was into composing for max. four months. I There are mistakes everywhere and when I wrote this I did not understand how to modulate (LOL), so there are quite subite transitions to other keys. I thought it would be fun for you to see how I am developed in one and a half year. The Mozart and Haydn influences are evident. I find this piece now uggly, but still I think at some places the music is pretty nice. The uggliest parts in my opinion are the endless repetitions, which makes the music too monotonous and boring. What do you think? Maarten
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[This topic is about how to join the Young Composers Magazine staff.] Hello everybody, Firstly, great that you want to help! Since there is much enthousiasm for the magazine (also to help), I have decided to continue the project. There are a few steps that you need to follow: Send me a personal message including that you would like to contribute articles to the magazine. In order to give you the ability to work on the magazine you have to create an account on https://www.jilster.com/. Afterwards, please send me your mail address via the same personal message, with which you have created your account so that I can add you in the lists of editors in Jilster. This addresses stay private and are not to be shared with other people without the permission of the owner of the address. Thus, these addresses will solely be used to invite you for the editor status. After this I will add you to the staff group of the YCM. Tell me which topic you want to write about and how many pages you expect to be necessary. When you receive a mail from maartenbauer@upcmail.nl read it and accept it so that you can join the staff. Write! I set the deadline on the 1st of October, but as I already said we will not have a deadline, because we are bussy people and do not have all the time in the world to spend on a magazine. Haha! However, I would be very glad if we have it almost finished then. Kind regards, Maarten
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Hello everybody, On FaceBook I have seen an invitation to write for the carillon of the Domtoren (church) in Utrecht. I never came on the idea to write for this instrument until now. The problem is that I don't know how to compose for the carillon. I cannot find much information about the possibilities and limitations of the carillon, so I would really appreciate it if you could tell me more about it! Thank you, Maarten
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Hello everybody, Today I finished my fourth symphony. To be honest, I hate to write orchestral music, because it feels like I am drowing in an ocean of possibilities and material. Yet I wanted to 'practice' my orchestration skills. The form of the piece is inspired by mosaic form, because for me recognition is one of the driving factors in the music. The lay-out and final corrections still have to be done. I am sorry for the very small staves, but this is needed, otherwise not all instruments could stand on the page. ''Randstad'' is the name of the area located in the West of Holland (Amsterdam, Den Haag, Rotterdam, Utrecht). It is one of Europe's bussiest 'metropoles' (7 million) and this is where most of the economical, social and political activities take place. I don't live in the Randstad, but in the middle of the Netherlands, where actually nothing exciting happens. What I wanted to express with this symphony is the chaotic, but also rich character of the Randstad. I am actually pretty satisfied with the result. What do you think? Any feedback or comments? Maarten (The mp3 file is called ''Nederland,'' which is wrong.)
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Hello, I am looking for an easy way to sell my music (especially sheet music) online, because many people ask for it. Do you know a website or library where I can present and sell my music? If so, please share the link in this topic. There is an advertisement on this forum of the library Tune Bud, but I don't know if this is for music only (sound) or also for sheet music (written). This website works with Paypal and since I didn't have an account yet, I decided to register me at Paypal, but it doesn't recognise my hometown (in Holland). Do you know how I can fix this? I am looking forward to your response! Maarten
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Hello everybody, I have won a composition competition with my saxophone sketch, which I already posted on the forum, and I can now finish my piece. I really need your help / suggestions / feedback! I will share my worries about the music in points, so that you can answer and discuss these. Extra information: The piece must be around 5 minutes long. The other post with the sketch can be foudn here: http://www.youngcomposers.com/t34939/sketch-saxophone-quartet/ The music ''ends'' at m.88. From m.88 there are sketches: Mm.90 - 97: Possible climax? Do you think this could be a nice climax for the piece or not? What should be a good way to create a climax in such an already heavy piece? Mm.138 - 143: Very tonal fragment based on the main theme to bring some lightness, but also humour. Do you think this would be nice to have in the music or does it ruin the whole mood and atmosphere of the piece? Although I like how I develop the themes that I give in the ''exposition,'' I don't like the music. It sounds boring and too repetitive to me and I have doubts wether I have over-developed the themes or not. There is no clear climax either. The most important element of this piece is the sudden dynamic shifts. I have thought about adding a second movement, so that the music isn't boring anymore, but this can also break the flow of the music in the first movement. The sketch was very interesting and very finished, but I feel like the music that I composed after finishing the sketch is of lower quality than the quality of the sketch. What do you think about the composition? I am looking forward to your responses! Maarten
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Hello everybody, A few months ago I discovered minimal music and I immediately fell in love with the simplicity and rest it gives me. At the moment minimal music is one of my favourite genres and I tried to compose a minimalistic piece for Clarinet in A or Bb. Melody for Clarinet.pdf The score is already transposed, so the part will sound different when played by a Clarinet in A than than when played by a Clarinet in Bb. The performer can choose how many times he or she wants to play the repetitions. Glass' masterwork Glassworks is a huge inspiration for this piece. Check it out! (the title of another minimalistic work by Reich) https://www.youtube.com/watch?v=6Stu7h7Qup8 Check it out! https://www.youtube.com/watch?v=GqXhvPIgDL8 Feedback or any comments would be nice! Maarten