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Showing results for tags 'flute'.
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Hey guys! I'm getting ready to start on my longest piece to date: a 10-minute chamber concerto featuring the oboe as the soloist. Instrumentation (subject to change): Woodwinds - Oboe, Flute, Bb Clarinet, Basson, Bass Clarinet Strings - 4 Violins, 2 Violas, 2 cellos, 2 DB Brass: French Horn, 2 Trumpets I am not sure where to start, so I was hoping to see if anyone had any resources they could recommend, such as words of advice, structural advice, instrumentation, etc. Thank you
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Thank you to everyone who gave me feedback - this is the final piece! Program Notes: "Beauty for Ashes" draws inspiration from Isaiah 61:3: "To appoint unto them that mourn in Zion, to give unto them beauty for ashes, the oil of joy for mourning, the garment of praise for the spirit of heaviness; that they might be called trees of righteousness, the planting of the Lord, that He might be glorified." This piece reflects the contrast between sadness and joy, crafted through Louis's signature blend of traditional and modern harmony; inspired by jazz harmony and film scores. The main motif, a 5-measure phrase, ascends with leaps and scalar motion, symbolizing the climb towards joy and redemption. Secondary material navigates unexpected harmonic terrain, briefly shifting to evoke turmoil before returning to the main theme, restored and renewed. Louis uses modern harmony, secondary dominants, and modal mixture, creating a nuanced emotional landscape in which sorrow's depth and hope's radiance intertwine. The piece culminates in a triumphant, cinematic chorale finale, symbolizing hope and victory. Sweeping dynamics converge with moving harmony lines, resolving to a radiant major 7th chord, evoking flourishing "trees of righteousness" – roots deepened by sorrow, branches stretching toward light. Duration: 5:22 Instrumentation: 1 Flute, 1 Bb Clarinet, 2 Violins,1 Viola, 1 Cello
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This is my rough final draft of a piece I've been working on for a string quartet with clarinet and violin. My main thing right now is getting everything connected and refining my harmony. I wrote some sections that are just there and have no relation to the piece. I am also trying to follow my modern-classical-lush sound in the harmony, but I haven't perfected it. If you could please look it over, maybe mark it up, give some harmony/chord progression suggestions, and anything else, I would greatly appreciate it. Some "rules" I've learned for getting that sound - every chord gets a 7th (at least) - trying to always use the full chord - Use functional tonal harmony, and color special moments with chromaticism (iii7 a lot, modeal mixture, and secondary dominants)
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Hello all - I am trying to write a composition that follows these guidelines. I have a basic motif already, and I was wondering if anyone had any suggestions on how to proceed. I've never written for this exact ensemble before (2 violins, 1 viola, flute, and clarinet) and I'm aiming for a 3.5-4 minute piece. Are there any formulas that might help, or anything orchestration-related that you might suggest?
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Hey, I have been tasked with arranging, "Gentle Shepherd" for an instrumental duet for a wedding. Right now it sounds very solemn - like something you'd play at a funeral, but I want to add some brightness to it, but not sure how. I think the timbre of the flute may be the culprit here, as it sounded much brighter with two violins. Overall, I like the sound of the piece - I think I stayed true to the original feel of the song, and I put my own spin on the harmony through various suspensions (mainly 4-3 and 7-6) and moving lines. I did try and keep the rhythm pretty consistent in the moving lines - sticking to the dotted qtr-8th-half pattern. I'm open to any feedback you all may have - thank you. -
Working on a 5 part rondo piece These are the key areas I'm thinking of going with -- Bb -> Db -> Bb -> G (with some modal mixture from gm) -> Bb - For my modulation to Db, I took some jazz inspiration, and used my Bb in the flute melody to make an Ab9 chord (V7 in Db), and then a CT dim7 chord before landing on the tonic, but that transition could be smoother. I'm going to use that same chord as a Tritone Sub (or a bII - almost a Neopolotian 6th) to modulate to G Major. - I feel like my melody sounds too "rigid" if that makes sense; I almost always start with my harmonic progressions and after I get all that figured out is when I go back and write a melody to match or compliment it. I would appreciate your feedback - thanks in advance!
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Trying something crazy - it might not work, but it's fun to try new things I have a piece that I've arranged for band/orchestra and I was thinking it'd be cool to do a virtual band type recording Here's the link to the project drive - https://drive.google.com/drive/folders/1cYfbUEXY9swZi-ZbNb6YI8oMmblUlloM?usp=sharing I have a piano track playing the melody at the correct tempo to keep everyone on track *IF YOU'RE PLAYING ANY OTHER INSTRUMENT OTHER THAN ALTO SAX, THOSE RECORDING INSTRUCTIONS/RECORDING ORDER ARE FOR YOU - ALTO SAX PLAYERS DISREGARD* Let me know if you have any questions
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Planning to write a simple set of 6 short pieces for flute and harp. Starting with this lonely melody. Planning to write a simple set of 6 short pieces for flute and harp. Starting with this lonely melody.
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This piece is in 4/4 time but its in the style of the minuets ive been writing. I guess it could have the title, 'tempo di menuetto' to indicate not just the tempo but style of the piece. It can be played on the piano or for flute and cello which I like.
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A little slightly more contemporary piece for solo flute that I have been working on for a while. In the first movement, I make use of a ‘filtering’ technique to develop the material; I began the piece by writing out a progression of modes, a few notes altered by a few semitones each time, which I work through to gradually modulate (with some exceptions!). I went for senza misura for this movement as I was looking for a more contemplative and tranquil tone, hence the title 'Penseroso', and to give performers as much space and creative opportunity as possible, which I something I always strive for. I contrast this with the virtuosic and frantic nature of the second movement ‘Scherzando’. I began by planning a sequence time signatures to be repeated, in such a pattern that an audience would be oblivious, to convey this freneticism. I develop this sequence; I designed an exchange in length within the piece of the high, loud, staccato sections and low, softer legato sections, in which the staccato sections gradually grow shorter as the legato sections grow longer, until roughly halfway, when the staccato sections lengthen again, and the legato sections shorten (I hope I worded that clearly enough!). I am particularly pleased with the sudden shock ending of this movement, designed in contrast to the soft a niente’ of the first movement. I managed to persuade a flautist friend to record this for me, and they have done an excellent job. I hope you enjoy the sounds of a real instrument, unlike last time! Any feedback and suggestions much appreciated.
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Hey, it's been a minute I wanted to experiment writing something Canon-esque, drawing inspiration from Canon in D. It's written in ternary form, with the A section in Eb major, the B section in Bb major (with some minor moments) and returns back to Eb major for a repeated A section. It's very basic, and no where near performance ready, but I've been on this site for a while, but afraid of composing, so I guess this is my plunge lol. Upon review, I have noticed some technical errors, but this was just for fun and to get my feet wet and I just wanted to get some feedback. Thank you
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I've decided to do something completely different than my normal thing. I've never enjoyed 12-tone serialism, but I decided to give it a little try. I don't follow the rules entirely, because I wanted to create something that uses it, but still sounds accessible and not like overly-academic wankery. The concept of the piece is a musical setting of the final stages of the Voyager I space probe leaving our solar system. It will be made up of 5 "Movements" with little or no separation between. The flute is the probe while the piano is the sun and it's solar wind, particles, etc. early in the piece and other stars in the final movement. Since the probe is a non-living thing, I decided to go with a more robotic sound created using a 12 tone row (divided into four triads) and some of its' inversions. Again, to make it more listener-friendly, and frankly because I wanted to, I didn't stick to any real rules or conventions here. In the first movement "Termination Shock", Voyager I goes through the point in the heliosphere where the solar wind slows down to subsonic speed (as demonstrated by the slowing tempo) while the temperature rises a bit (warmer sounds from the "sun"). The movement starts with just the "sun" before "Voyager I" powers back up to send its' message home. I will post the other movements as I finish them...
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An experimental piece. I used galant schemas but used weird chromaticism with diverging lines in places. I dont know if it works but its fun.
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I'm composing this piece for a challenge where the challenge is to compose a romantic piece(romantic in the sense of love, not necessarily the era). What I think about when I think about romantic love is a complicated process that starts with sudden desire(pickup in momentum in the cello leading to harmonization in sixths is what I did to try to get that across), a friendly stage with exchanges, a lot like a friendship but deeper(this is what I'm at now in my piece, an exchange of 2 motives between the flute's motive from the first theme and a second motive in the cello, like 2 people exchanging ideas and seemingly a state of agreement(acceleration towards the cadence in both motives)), a state of anger and not wanting to be with the other person, and a final calming realization phase when true love is reached. This fits well with Sonata Form and so my piece is probably going to end up in Sonata Form, just unconsciously, because of the associations with the start of a romantic relationship. And Flute and Cello are 2 of my favorite instruments. I can't say that I have a favorite woodwind though, they are all great, except maybe the Recorder. But the Cello is my favorite string instrument. Yes, I know, the flute motive slowly shifts across the beats of 4/4 in the first 10 bars. That metric shift just kind of naturally arised from me developing the motive into the flute dominant First Theme. I am stuck though at the cadence in the next 8 or 9 bars. It feels like the Cello wants to continue rising in pitch as does the Flute, as well as accelerate even further to the cadence. But I'm not sure what to do. It's mainly the Cello I am concerned about. It's approaching treble register pitch and the treble register is hard, even for an experienced cellist(Eb4 is not that far off from G4, the note at which I would consider possibly putting the cello in Treble Clef). Right away you might be like: to which I would be like: So, what do you think of my piece so far? Any advice regarding the acceleration to the cadence? Are the 32nds in the Cello motive too fast?
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A march for flute and cello. Im working on a bigger project at the moment but thought I'd compose something else today.
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Hello everyone, I have been studying music composition for 6 months over books and the internet but since none of my acquaintances knows about music composition the feedback I receive is null. I would greatly appreciate that you could give me any. There is really many things I do not know and many doubts, so I will be thankful for any feedback! -------------------------------- About the song --------------------------------- The composition are six 30-seconds variations over the different greek modes (locrian exempted) in F. I set myself to follow some rules, such as using only diatonic notes (no raised 7th in minor modes either), an almost constant eight note rhythm for the middle voice and a similar beginning and ending of each variation for every mode. The original theme was the Ionian mode and from there I decided to write a similar 10 bar piece for each greek mode for practicing. -
I tried composing a more light hearted piece with more unusual ideas that makes fun of itself in a way.
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A minuet for solo flute. I thought about adding a cello accompaniment which I may do later.
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This is a piece I wrote recently about a nervous auditioner (I think that’s the right word) in an audition for area or district band. It is supposed to be more on the theatrical side with some instruments representing people. There are four movements, each representing a part of the audition process. I will explain each one in depth:
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Hi! Minuets are trendy here it seems, and I've been recommended to try my hand at some. So here is a first minuet and trio for piano and flute. I feel it would be hard to dance on it, I realized I'm not very comfortable with a ternary rythm (and I forgot halfway that it was supposed to be a dance at all). The overall structure is: minuet1 - trio - minuet 1', where: minuet 1 is written in 2 parts for piano. It is made of 2 repeating sections [A] and [B-A']. A finishes on a half-cadence, B modulates and brings contrast, A' is same as A but ending on a perfect cadence the trio is in the key of dominant and the flute comes in. Its structure consists of 2 repeating parts [A] and [ B] (yeah, ok, I'll admit that I forgot A' and I was too lazy to change haha. But I think it's not too bad to have a bit less repetition) minuet 1' is the same as minuet 1 but without the repeats (thank god) Let me know if you have any comment/recommandation/suggestion/corrections 🙂 menuet #1 v2.mp3
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Im learning melody writing and using the minuet form. Ive written a few minuets for piano so far and i will most likely add a base for this melody.
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This is a piece I wrote last week. I have separated the ‘movements’ by one measure long rests, and I understand if that may seem a bit too long; I have made them shorter in my more recent pieces. The reason I named it “Try, Try Again” was because the second and fourth movements reminded me of someone making a mistake whereas the other movements sounded like someone achieving or succeeding. I also included a quote on the last page of the score that I felt went along with the title of the piece.
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The second movement of my piano concerto, I wrote it during the lockdown and I feel like it exemplifies my mood throughout. I'm particularly pleased with the brief piu mosso section. I wanted to upload it with note performer, although I currently don't have my finances in order. so I didn't, if I get it soon I'll re-upload it. Please let me know your thoughts, and I'm working on the final movement, as I'm not short on time.! -
I recently finished this composition and am looking for more advice. Considering this is my third piece where I’ve written for Strings, i think I’m getting better with writing for them. I can’t think of a name for it though so please recommend any possible names or ideas for names!
