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Showing results for tags 'violin'.
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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. -
Hey Guys, I've never composed a kind of music like this before. I'm eager to hear your opinion!
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This is my "Caprice for Solo Violin No. 6". With such works generally being composed in sets of multiples of 6 (Locatelli's and Paganini's caprices for solo violin coming in sets of 24, and Bach's partitas and sonatas for solo violin and solo violoncello being six each, and in more modern times even Ysaye's sonatas for solo violin coming in a set of 6), I look at this 6th Caprice for solo violin of mine as being perhaps of greater importance since with it I have finally completed a set of six caprices for solo violin (spread over 13 months from March 13, 2023 to May 5, 2024). Here are the links to my previous 5 caprices for solo violin: https://www.youngcomposers.com/t44427/caprice-for-solo-violin-no-1/ https://www.youngcomposers.com/t44439/caprice-for-solo-violin-no-2/ https://www.youngcomposers.com/t44505/caprice-for-solo-violin-no-3/ https://www.youngcomposers.com/t44826/caprice-for-solo-violin-no-4/ https://www.youngcomposers.com/t44862/caprice-for-solo-violin-no-5/
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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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This is my Caprice for Solo Violin No. 5. Following on the heels of my 4th Caprice for solo violin, I think it is equally beautiful in its own way. Like the third one, it makes use of left hand pizzicato, but much less substantially. Here are the links of my first four Caprices for Solo Violin: https://www.youngcomposers.com/t44427/caprice-for-solo-violin-no-1/ https://www.youngcomposers.com/t44439/caprice-for-solo-violin-no-2/ https://www.youngcomposers.com/t44505/caprice-for-solo-violin-no-3/ https://www.youngcomposers.com/t44826/caprice-for-solo-violin-no-4/
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This is my "Caprice for Solo Violin No. 4". Here are the links to my three previous Caprices for solo violin: https://www.youngcomposers.com/t44427/caprice-for-solo-violin-no-1/ https://www.youngcomposers.com/t44439/caprice-for-solo-violin-no-2/ https://www.youngcomposers.com/t44505/caprice-for-solo-violin-no-3/ EDIT on 31/7/23, 1:00PM GMT: I posted an edited version of the score and mp3 in response to feedback. The edits concern the arpeggios of bars 10 & 11 which I replaced with the same notes laid out successively instead of as arpeggios and bars 14 & 15 where I replaced the 4-line tremolos with 3-line tremolos. I hope and believe that this revised version is playable on the violin.
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Hi guys, this is the first (complete) piece I have composed. It was inspired by the painting "The Raft of the Medusa" by Théodore Géricault, which I found whilst I was surfing the internet for inspiration. I'm hoping to use it as part of a larger work later on, but here it is as it stands. The piece is in ternary form (A-B-A), with the A section being in G minor, and the B section being in the Dominant(D Major). The A Section is supposed to invoke the dispair that the sailors on the raft must've felt as they were sailing, and their cries for help. The B section is supposed to be some sort of cheer up song, that the sailors sing (and waltz to), to try and cheer themselves up. Eventually, the despair and pain of their ordeal overwhelms them, and they stop singing, and start crying for help again, hence the repeat of the A section. I do hope you enjoy my piece, and I would appreciate some feedback on it, Yours Faithfully, Expert21 P.S. I apologise in advance for some of the discrepancies in the notation, I hope to fix it when I have more time.
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I've just finished a new piece today! Here's a waltz that I had written for a competition (I didn't submit in the end, the entry fee was too costly), in Ab major. At first I had planned for it to have been for solo piano (inspired very much by Chopin's waltzes), but eventually I added a solo violin part for (at least some) more timbral variety. Would appreciate some good criticism: this the first waltz I've written, and also the first in my (obviously limited) oeuvre to 'explore' the circle of fifths. Hope you enjoy, and let me know what you think! 🙂
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This is my Soliloquy for Violin No. 34. I was just doing a listing of my compositions in the various genres. I have so far composed 177 soliloquies. Here are the instruments (and in some cases the ensembles) that I have composed them for: 34 for violin, 21 for clarinet (in Bb), 17 for oboe, 17 for piano, 13 for violoncello, 9 for flute, 7 for guitar, 7 for viola, 6 for tuba, 6 for organ, 5 for harp, 4 for piccolo, 3 for bass clarinet (in Bb), 3 for celesta, 3 for trumpet, 3 for string quartet, 2 for accordion, 1 for duduk, 1 for oboe d'amore, 1 for alto recorder, 1 for bass trombone, 1 for theremin, 1 for vibraphone, 1 for English horn, 1 for percussion, 1 for two violins, 1 for zither, 1 for trombone, 1 for alto saxophone, 1 for viola and piano, 1 for violin and piano, 1 for harpsichord, and 1 for nai. Here is how I defined the “soliloquy” for a concert’s program some years ago: “I call many of my pieces by the name of "Soliloquy" which to me signifies a short (aphoristic), reflective, often calm, and sometimes sad, piece written for one instrument (or sometimes a set of instruments behaving as one). These pieces often serve as a kind of character sketch of the particular instrument for which they are written, and/or to present a single musical statement/argument in a brief yet parsimoniously meaningful manner.” I think that that definition is still true ten years later. Here is the link to my previous soliloquy for violin: https://www.youngcomposers.com/t41732/soliloquy-for-violin-no-33/
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Aria in c minor written to my son Jonas 05.05.23.
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This is my "Caprice for Solo Violin No. 3". It is the first string piece I have composed in which I utilize left-hand pizzicato. Here are the links to my two previous Caprices for solo violin: https://www.youngcomposers.com/t44427/caprice-for-solo-violin-no-1/ https://www.youngcomposers.com/t44439/caprice-for-solo-violin-no-2/
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This is my "Three Sententiae for Violin, Op. 351". It is my 5th set of sententiae for violin. I have provided the description of "sententia" (a form that I have originated in 2013) on the title page of the score. Here is the link to my previous set of sententiae for violin:
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"This is my first Caprice for Solo violin. It is my submission to the "From Bits to Bangers" Young Composers music competition. I chose the first of the five 8-bit video game music tracks available to be chosen from, the "Dragon's Lair". The beginning of my piece starts off from my perception of the starting part of the track. Then I proceed to build on it what becomes my caprice. Later that initial part returns in various different forms." The above was my description of the piece that I provided with my submission to the competition. For me the piece sounds like a masterpiece all-through. And since music cannot be judged - at least not entirely - objectively, if at all (its appeal being largely subjective), I think I am entitled to my opinion and my opinion counts. And yet, most of the judges of the competition - at least 3 of 5 of them - judged it as extremely a bad piece, failing to see anything good in it at all. One even had the impudence to give a score of "0" in one category! The question arises: in such competitions where judges rule, who judges the judges? Are there no criteria to hold them accountable when they cross lines and let their subjective biases show through? I guess my music is of such a high level that it is only appreciated by a select few. And since music's appeal is largely subjective, if the majority of judges and even the audience condemn it as bad it should not and does not matter. I have spoken this time when at other times I did not (when posting a judged piece) since this time the judgements, especially by 3 of the judges were unacceptably harsh and would seem to amount to a devaluation of the piece. And also because if I stay silent again this time, it will be taken as acceptance of all that degrading, unacceptable, judgemental and devaluing judgements by 3-5 of the 6 judges. As to why I chose to speak here, a place that might seem inappropriate since it is intended for posting pieces, the reasons are twofold: 1) I did not want to be lured into the "Dragon's Lair" of the judges themselves by responding with my objections in the premises of the competition where my piece was almost trodden underfoot. 2) There must be a re-evaluation of my masterpiece - at least in my opinion - and so when posting it I could not afford to not make my opinion of the unacceptable nature of the judgements it underwent in that competition clear!!!
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This is my "Caprice for Solo Violin No. 2". It is also the second caprice that I have ever composed. My first one (see the link below) was my submission to the "From Bits to Bangers" Young Composers Composition Competition, based on the "Dragon's Lair" video game music track and received low marks in part because it did not reflect the theme of the track too strongly. I would be interested in hearing your opinions as to how this one compares to that first effort of mine in the genre of the caprice, purely as an example of a caprice. Here is the link to my "Caprice for Solo Violin No. 1": https://www.youngcomposers.com/t44427/caprice-for-solo-violin-no-1/
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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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As a violinist, I've always felt today's musical landscape is missing something with the general absence of any modern violinist-composers along the lines of Paganini, Wieniawski, Sarasate, and so on to contribute new and exciting pieces to the repertoire. But since I'm both a violinist and a composer, I figure I might as well throw my hat in the ring and try to fix that. I've written four pieces by now, though I'd only ever performed two -- until recently, when I got to premiere the third. I composed this piece back in 2020, shortly before the entire world shut down. But recently I finally found a good opportunity to perform it, so I gave the "world premiere" on November 9, 2022. Unfortunately it was not recorded except on a phone at the back of the hall, and the massive echo made it sound pretty muddy. So I got a recording session in today in order to get higher-quality audio. Here's the end result: https://www.youtube.com/watch?v=WghXNdOc-VY The indication "harm." in the part is not me being too lazy to make diamond noteheads -- it is the notation used by violinist Roman Kim (one of my biggest inspirations and another torch-bearer of modern violin composition) to indicate the use of the forced harmonics technique he invented. It sounds one octave higher than written, is fingered exactly as written, and always lasts until the following "ord." mark. They appear at timestamps 2:15 and 3:56. While exceptionally challenging to master, they unlock some sounds that would otherwise be impossible to produce, so I think it would be interesting if the technique could become more widely learnt and incorporated into more modern violin writing.
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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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Hi! Nothing fancy today. This is a piece I wrote back in 2019 for a guitar, a violin, a synth and of course, bongos (as well as marching and bass drums). I think this is the right sub-forum to post it, please tell me otherwise. The piece was done for a certain minecraft server I on which have no time to keep working and also and most importantly because it was so long I hadn't composed anything that included bongos. As always, I'm open to feedback, questions, etc, etc. Kind regards and have a nice week ^^!!
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I recently completed this short showpiece I mostly wrote for myself. I'm going to be trying to arrange a live performance very soon, after I learn the part of course. For now all you have is Finale's rendering, but it should give you the idea. I'm not going after any particular composer's style, I'm just trying to write something that is simultaneously accessible, flashy and difficult, but also musically sophisticated. valse brilliante.pdf
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The first movement of my first violin sonata (it is supposed to be in sonata form) . Any feedback is welcomed!
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Hi to everyone, since finally I have vacations I decided to try to compose a tango. I called it "primer tango?" Which could be translated as "First tango?" because it has some things that get out of the genre, so you can say that this is a personal interpretation. Also it's the first time that I writte for bandoneon so the left hand is pretty empty. So what do you think? it sound like tango?. The structure is simple. Introduction: A A' with repetition: B: bridge: Introduction: A A'. Also, I tried to make a sheet music video with a animated background intead of just the sheet music so it is also a experiment in that, I also attach PDF and mp3 if it is easier to read that way.
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