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Hi all, wanted to share a piece I have written very recently, and get your feedback, Enjoy the listening! Julien PS: scores (and midi) available on https://imslp.org/wiki/Tableau_No.3_(Piaser%2C_Julien)
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1. Adagio Molto Moto: This movement explores the relationship between our mechanical world and our own expressiveness as a species. 2. Contemplatively Pious: This movement is a self-meditation for the listener. An opportunity to breath after the soundmass of the first movement and consider the world within which we live. 3. Savagely, Allegro Vivace: This movement is a savage, almost warlike movement that finishes the work.
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So, here is the final (?) version of my very first, serious, String Quartet. I'm very excited about this piece -with its newly minted final movement. A bit of detail is in order: I. Andante con moto: The first movement, in an expanded ABA form, is in Episodic Form. This form, patterned after both the Medieval Estampie and Baroque Fugal Forms, consists of alternating exposition and contrapuntal series. I took care here to focus the material to create a sense of ABA form itself -where as the material itself dictated. The chief material for this movement is the nomenclature for my first name: JASON =DbABbDE. This was arrived at adjusting the note to letter key by removing Fb and Cb -as I didn't feel comfortable having either in the score.... it just didn't seem right, lol. II. Moderately: This movement is more through composed in that the material dictated where to go next -with the exception of the end. This movement plays with the theme from the first movement and introduces a, rather stark, GCD motif (I'll let people figure out the meaning of this chord). This chord is not elaborated on or development -just sort of sits in the ethereal of the piece throughout. However, the chord does impact the material that comes after its introduction in a profound way. III. Largo molto Sostenuto: Resignation to fate. I feel this movement is perhaps the strongest of the three -and the most interesting. While I love dense contrapuntal textures, this movement rests its laurels on a delicate suspension that begins with the GCD chordal motif introduced in the second movement. The JASON motif is imposed within the chordal motif using what I call the Shostakovitch crescendo (see his String Quartet no. 15). In a sense, that work deeply inspired this movement. I hope you enjoy! I may rework the second movement to make it less bulky at the ending -maybe fix the transitions? I'm not sure. Technicalities aside: This work is rather personal -obviously since I used my name as the chief material. The hidden programmatic nature of the work is probably easily noticeable to many of us on here. We have all gone through vast struggles in our lives to get to the points we each find ourselves. This work is biographical in that respect. I won't bore you with details.
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This work was written for a call for works for violin and cello duo. An episode is a form that I created a few years ago. The concept behind the form stems from my love of contrapuntal textures. For this form, which I've explored more within my piano writing, the concept is the weaving of contrapuntal textures and more homophonic explorations of the material -similar to the estampie model of the renaissance. This would be the first episode that I've composed outside of my piano works -so, to me, this work is an excellent embarking of the form to other genres! Anyways, I'll be revising this piece based off the performance -should it manifest! Hope you enjoy.
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It's been awhile since I've posted anything to the forum, let alone really been active. Life is like that sometime. This work was born out of my own quarantine after being tested positive for Covid-19. While not exactly the main influence over the work -I'm sure it adds a little to it. The 3rd movement is close to how I envision it. I'm working on a revision to make it sound more coherent and complete. I'm not too excited about the ending -I think the material can be expanded some more. Just got to find the right way to do it. I present you my 4th Piano Sonata. Hope you enjoy!
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Hi all, This is something I've been working on for my composition lessons. The goal is for it to be a piece that could be played fairly easily by people who don't really know how to play the instruments involved (although I hope it would be fun for professional kalimba and ukulele players as well). If you're interested in playing it, just let me know. I'd love to get some feedback on how well the score communicates.
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hello everyone, I am back, this is my new piece, hope you like it! the video: 【终极完美版】作品5之2 微分音钢琴音乐的开山之作_哔哩哔哩_bilibili- 2 replies
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Ever feel like fallible fleshy humans get in the way of your piano music? If so, this is a solution to that problem: Just remove them entirely!
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A trio for Clarinet, Guitar and Cello. Guitar is meant to be amplified as needed (and it is slightly amplified in the recording.)
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I'm going to post all my piano compositions in chronological order. Numbers 7, 8, 11, 13 and 15 are the best ones in my opinion. 1.-Compositions from youth. (I wouldn't even call this music) 2.-Random piano piece. (Modern I guess) 3.-Variations on a theme (Second piece I show in the video)(Classical) 4.-Katyusha (Variations)(Romantic/Virtuoso) 5.-Musical experiment. (Modern) 6.-Portrait of a dahlia. (Modern) 7.-Memories. (Romantic with jazz) 8.-Invention in D minor. (Canon)(Baroque) 9.-Crab canon. (Modern) 10.-Videogame experiment. (Modern) 11.-Feline Night (Jazz) 12.-Chromatic practice. (Experiment)(Modern) 13.-Elegía moderna. (Modern) 14.-Consonantn't vals. (Experimental/mixture) 15.-Portrait of a deaf man. (Modern/Romantic) If you liked or you have some advice please leave a coment. If I see people show interest I will post my other works.
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Hi all and thanks for visiting my topic! This is my new cheerful and upbeat piano composition "Birthday Song" in C Major. At first, this song was meant to be a practise of some basic chord alternations, but it eventually ended up being a birthday present for my mother. The main melody came quickly to my mind when I was improvising on some chords in C major and I'm pretty sure that it is inspired by another famous melody. I just don't know which. If you know it, then please write it in a comment 🙂 . This piece was composed in a piano roll and it is possible that some chords aren't playable by regular hands (sorry for that ;)). The structure goes as follows: Intro - A - B - C - D - A - B A : First main melody B : Cheerful and upbeat culmination of A with a relaxed finish C : Intermediary theme to modulate from C to E flat D : Reviving theme in E flat Feel free to leave a comment 🙂 Thank you for listening and I hope you enjoy! K.R. Alex
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Hi, This is the newest movement of my orchestral project, Suite of Minimalism. I cannot decide if I am fully happy with it like the other two movements, and I would like your idea of how the ending could be improved, and if you guys even like it. Philip's Time Machine has some of my favorite moments of music I have written yet, but I can almost tell the second half of the piece sounds rushed. Maybe I am crazy though. If you guys agree and give me some pointers, I will probably spend more time working on it and be back here in another few weeks.- 2 replies
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Hi everyone! I am a 17 year old composer looking to improve and share my music! I love creating music and leaving my footprint on the musical world :). After a brief hiatus and a sudden burst of inspiration, I completed the second movement of my biggest (yet) composition project - a suite made as an hommage to minimalism. This is turning out to be some of the coolest music I have ever written, and the most proud I have been of my own music yet. If you have not heard the first movement - Groove in 5/8 - yet, check it out on my profile! I hope you enjoy "Amongst the Ocean on a Speedy Sailboat"! Let me know your thoughts, criticisms, and what you imagine when listening to it, as well as your favorite parts!
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Hello everybody, i am new here! My name is Leonardo and i am 17 years old, i am a young composer looking for some feedback! https://www.youtube.com/watch?v=V5zGgmj1ilY I would like to share this with you, hopefully you have some time left in your day and you could take a look at it! It took me 6 months to make. If you want you can comment under the video or on this site, does not really matter! Let me know what you think 🙂
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https://flat.io/score/5eb66ba3bc90cb486315b2ab-in-the-trance
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Hello guys. Recently I have been working on a symphony of quite simply epic proportions, and I want to share Symphony - I..mp3it to you for some feedback and advice. You can listen to the symphony at the YouTube links below, and I have also uploaded the score and MP3 in case you want to dive into it a bit more. Link to playlist: -
Hello, I am a modern contemporary music composer, what do you think about my new short piano piece called Flying Tears? Feedback is appreciated! Thank you and stay safe
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I was busy working on a project for Euphonium when I got the ideas for this piece. Over the last few days, a week really, I've added and changed stuff. The work slowly expanded from there. When I got the idea, I thought about doing a sonata based on it -but, as my composition advanced, I decided a one movement work would suffice. The form is pretty straightforward -so I won't bore you with the details. I can, however, say I'm happy with this draft of it. The language is very intimate and, I'm sure some would note, there's a sense of doom and resignation in the piece (largely due to my stressing over the coronavirus and it's potential impact on my family). But, in the end, the show must go on -and life itself will ultimately return to some sense of normalcy. At any rate, I hope you all enjoy this.
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I wanted to build a bit on the concept of the sententia -as the short form was created by @luderart. Thus, I decided to turn towards my solace: the piano. Writing for piano, idk, seems to open me up more to the possibilities within thematic/motivic material. Not sure why... it just does. The third sententiae uses the opening motif from @maestrowick's The Vivid Dawn. Anyways, each of these 'sententia' are no more than 12 measures. I chose twelve due to symmetry. That allows 6 measures for each segment of the idea to expand and contract (allow for some motivic development) while at the same time keeping the unique nature of the form intact. Hopefully these succeeded in that task.
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My hand at a relatively short miniature form created by another member on this forum @luderart I'll be adding some more here as I develop more confidence in writing these type of pieces. So far, this was an enjoyable exercise in brevity. Love it.
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There's a bit of a difference between this sonata and my previous two. For starters, this is probably a more serious attempt at the genre. I've never been a good person to describe my works in non-abstract terms. It is safe to note, though, that various parts of the piece explore septal and quintal harmony as well as a juxtaposition of whole tone tonality amid heavy chromaticism. That said, as I mentioned above, this work definitely seems like a strong development in my overall compositional ability. I'm not sure if there is a bit of maturation occurring or what -I'd be interested in everyone's thoughts! Hope you enjoy!
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Time is eternal. As sentient beings, we often fail to understand that despite the eternal nature of time, we -ourselves- aren't. At some point, our lights will extinguish -our lives will come to an end. This is scored for a chamber orchestra of one of each woodwinds (1.1.1.1), brass (1.1.1.1), vibraphone, timpani, and strings. Compositionally, this is an abridged sonata form. The exposition lasts for roughly the first minute, the development section lasts most of the work. The recapitulation was shortened to just a restatement of one theme (with textural variation) with coda. I'd love to have some comments regarding the orchestration -as that's still an area I'm trying to strengthen. Hope you enjoy!
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Piano Sonata 1 by Florian.pdfPiano Sonata 1 by Florian.mp3 Hello everyone, I am new to this community and looking forward to engage with everyone in sharing our compositions. This is the first piano sonata I have just completed. It is not in the traditional sonata form, but I tried to implement Theme A and B in different places and cast them under different lights. I especially like the Largo (3rd movement). Any sort of feedback would be highly appreciated! 🙂 Thank you for listening.
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Sometimes inspiration comes from different places: a car passing by in front of you, leaves rustling in the wind, the username of a member of an online forum, or simply... it just is. My first sonata was inspired by one of these three things. Ironically, as long as I've been composing, this is my first... complete (well, somewhat, I'll probably renovate some of the movements later) piano sonata. I. Allegretto Grazioso: The entire sonata rests on the motif found in the bass. 5 simple notes. The motif in this movement is treated to development in a type of hybridized sonata form. II. Adagio Sostenuto: This is one of the movements that I'll probably strengthen later. The form is basic ABA'. I wanted the A section to have a solemn quality to it. Resignation. The middle section introduces some new material -but again is heavily resting on the 5 note motif found in the first movement. III. Presto - Andante con moto: The five note motif becomes the basis of the scalar material utilized in the first half of this movement. Despite being a tad basic, it provided some interesting sonorities -particularly with the infusion of chromaticism. The second half of this movement features snapshots of material utilized in the previous two movements (for the sake of maintaining cohesion throughout the piece). All in all, I'm fairly satisfied with this work. I'll most likely update the second movement -and the second half of the third. Hope you all enjoy!
