Search the Community
Showing results for tags 'harp'.
-
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! -
I am transcribing a piano "sketch" that I wrote out - it will eventually be used as the harp part of a flute and harp piece I am writing. I am mainly struggling with getting some of the inner voice movements and the turnaround figure written out accurately. The progression is pretty simple, it's just: I-iii7-IV-iv-I-viio7/ii-V7/V-V-I (4-3) It would be greatly appreciated if I could get some guidance/help - I already have most of it written, it's just those two sections that are stumping me. * I also switch the viio7/ii for a V7/ii the second time through.
-
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.
-
Alright, after months of working, learning, and trying not to procrastinate too much, I'm freaking done with this project. This project took wayy longer than it should but gosh darn it it's hella worth it. It's literally my first time I've done something like this, and I thought it was okay. There were some parts that definitely could've been improved but I'm really proud of the score that I've made. About the scene: Two rival, young, and new deputies on the force, DUSK and BOYD, had found themselves in an one-on-one conversation after BOYD ran off to the top of a hill because DUSK had mocked his behavior of drinking and got sent off duty after the death of his horse, Bandit. The conversation ended in an ambiguous way after they each spoke of their feelings about each other. Credits in the video description. Server from WildRP. I've provided score, just the music, and some context to some of the dialogues as well. Lemme know what you think! -Ferrum
- 4 replies
-
- 1
-
-
- first time
- percussion
- (and 3 more)
-
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 wanted to put a sound to my dreams and I feel this piece best suits it!! Leave a comment and enjoy!! Sheet Music: https://flat.io/score/5ed7175b0e11096fbd93d018-lucid-dreams
-
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.
-
This piece is only made using chords. This is just an experiment. feedback expected.BTW Inspired from chopins e minor prelude.(op 28 no 4) https://flat.io/score/5ecfa73218c179027f492cdd-warning-cursed-audio
-
If you could spare the time to provide some feedback on this piece, it would be really helpful. Thanks, CharlesSonatina for Violin, Piano and Harp (Leadsheet).pdf
-
I composed a new music track. This time with solo strings, solo woodwinds, small percussion, harp, piano and supporting chamber strings. I've tried to accomplish a positive happy energy. I would really love to get some feedback on this one.
-
Here is a small set of three pieces inspired by different figures in Seneca mythology/folklore! I hope to improve my harp writing, so any tips/advice on that would be greatly welcomed. The colors were used as a reference for myself while composing (I think of music in terms of color), and they themselves allude to the "triptych" I was attempting to create. (The score is left in concert pitch)
-
This piece was written in Prague for a friend I made there; it is in five brief movements and the inspiration is from medieval Occitan literature. The organization of the movements depicts a "legend," or some sort of story which one recounts to another, beginning in the morning and ending in the evening. The first movement is an alba ("sunrise"), which is similar to an aubade -- a morning love poem --and the piece serves as an introduction to the set. The second movement is more lively and is a poem celebrating the arrival of spring. The third movement is pensive and reflective, highlighting the harp, and ends with an unadorned quotation of a kyrie. The fourth movement is the most vivacious in the set and is an energetic dance reinforced with numerous repetitions. The final movement is a serenata (or, serenade), which is similar in concept to the opening "alba," though a serenata occurs in the evening, thus demonstrating the course of a day's time; the piece utilizes material from all the previous movements to provide a sense of total synthesis.
-
This is my 5th soliloquy for harp. I had previously posted my 2nd, 3rd, and 4th, but they all got erased due to the renovation of the website in early May 2016. I might post one or more of them in the future as part of my repostings of older, deleted pieces. Meanwhile, I hope you enjoy this one.
-
HARPINATIONS: recent release by ArpaViva of 4 harp compositions composed and performed by Shirley Meyer Blankenship: Metaphysical Waltz, Peace for Guidosan and two works for viola and harp: Fantasy I and Fantasy II with Rudolf Haken, violist.
-
Hey everyone, I'd like to hear your opinion about this harp tiny piece. I wonder if it's playable. If anyone here knows how to play/write for the harp, please tell me if you think that's playable.
-
I don't know if you are familiar with the 15 seconds project of Olivia Jageurs, nor do I know whether it is still ongoing, but there is this lovely London based harpist offering to play and comment on a snippet of 15 seconds of harp music. I wrote 3 little pieces for it, one of which even aired on BBC3 The sound files can be found here: http://www.jaapcramer.com/music/2016/01/27/irks.html
-
Again, I was not sure whether this qualifies for the chamber music or the large ensemble category, but here it is. Powder Peony Waltz is a Viennese waltz written for whatever group of instruments I like (modified orchestral ensemble with ornaments in the form of a piano and celesta). I know that the transition between different keys is extremely awkward and chord progressions are not very fancy, but I was simply asked to write a quick small piece for dance class at my high school for their annual ballroom dance show. I intended to make this sweet, flowery, and light. Thank you for listening an enjoy!
-
I would like to share with you my new composition. It was exceptionally painful and frustrating to finish, but I hope that those emotions added a bit of an artistic and melancholic spice to this silly little piece. Enjoy and thank you for listening.
-
I've recently been working on an orchestra piece, and here is the finished product (first draft, at least). I know some of the transitions could be smoother, and I need to add most of the brass parts still. Any advice? https://musescore.com/randomperson555/stars
-
I go on learning the harp. I write the pedal changes for myself. I didn't want to write what should play one hand or the other in some parts because I realized there is more than way to do it. Sometimes it all seems a bit awkward because of the needed enharmonic notes. It starts in the key of Cb and later changes to C. So the repetitions are not exactly transposed for that reason. POEMA PARA ARPA - SCORE.pdf
-
Still getting familiar with harp writing (and pedals). A classic canon Part A in G minor at the seventh (or second + octave) Part B: D min at the fourth down motu contrario Part A': the same A but inverted counterpoint. harp canon - SCORE.pdf
-
This is very short, I know. The fact is I'm starting to learn about writing for the harp, which is fascinating. I know the notation of the pedal changes is unnecessary but I write them just for me. I love the sound of the harp and its possibilities. For now, I only want to do little pieces that are supposedly right, from the playing point of view. TULIPS.pdf
-
Hello fellow composers! I'm leaving you with my newest composition - Th Ghost. It is written for piano, small string ensemble, synthesizers, and harp. I literally have no idea what I was thinking when I was writing this piece. I've never used that much dissonance or vague tonality. Partially I wanted to step back from the usual canon patterns that I tend to follow and do something unconventional. At least I've tried. It is a mostly thematic piece. I also had problems with mixing and changing dynamics/panning/EQ - I absolutely hate Logic standard pizzicato strings... Anyways, thank you for listening, and hope you enjoy this small piece just a little bit.
-
Very random thing I made recently, not knowing what's going on actually... I strived for something between instrumental and ambient/free form. I used very low piano keys on purpose, just to make it clear - restricting yourself to only middle range makes everything too crowded and not very imaginative. Plus, I love low pitches, so deal with it! I'm extremely worried about the transitions between different musical ideas. A casual track for sipping warm tea in a cold, snowy day, I guess. Thank you for listening!
-
A small lullaby thing I did for my Music Production (high school) class. The only objective was to produce a piece that will be exactly 2 minutes (my exceeds 120 seconds, but only because of the delay and reverb - I had to leave two empty bars for the sound to go down). I also tried to experiment with the harmony. It's a bit flexible, balancing between C major/minor and G major/minor. I just wanted to get out of the frame of choosing one key and using it's parallel or relative key. On the other hand, I do not want to write atonal music. Nymph's Sleep is written for two harps, glockenspiel, small string section (violoncellos and bassess), flute and bassoon, celesta, and synthesizers (bell synthesizers with a lot of delay). There is no score for this composition yet. Thank you for listening and let me know whether it's harmonically bearable - I did not study harmony yet.
