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Showing results for tags 'woodwinds'.
Found 16 results
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Hey all! I just completed what was for me a massive project, Three Scenes for Ensemble is a set of chamber pieces (one of my first compositions) which I composed and recorded at the legendary Hansa Studios in Berlin. I felt this would be a great place to get some feedback. I know it's a ton of music, but it would be incredibly helpful to even if focus on one measure to show an example of different choices I could have made orchestration-wise, harmonically, notation-wise, etc... Thank you in advance and I hope you enjoy! If you would like to support please consider also listening on Spotify. Score Video: About the Music! Credits: Composer: Nicholas Schuman, Flute: Thomas Hahn, Oboe: Anna Schulkowski, Clarinet: Constance Morvan, French Horn: Melinda Gál, Piano: Daniel Zhao, Cello: Josiah Simonds, Sound Engineer: Arne Bergner, Assistant Engineer: Marian Hafenstein
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In The Forest Dance Woodwinds vs Overdrive:) Published on YouTube: https://youtu.be/Orqb7LPt-Y8
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Hi all, I already mentioned in this post I would share the score of my latest music track. I wrote it all first in StaffPad and then rebuild it again on my computer with my favourite libraries. Love to receive some feedback. I really tried to pay attention to harmony, counterpoint and using the right registers for the instruments. Download score: https://bit.ly/3ka0ZLu -
Hey Youngcomposers! Been a part of this community for years, and I'm so glad to see it's still growing! I wrote just a little adventure piece with some Celtic influences. I hope you enjoy it! I had a ton of fun writing it. Edit: I also threw this piece with some other ones on spotify. Feel free to take a listen! https://open.spotify.com/album/5I1tcYvpdeea9p3MQ5nrOQ?si=juYyyaajQVKWafkLuKM21Q
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So... I want to compose more for orchestra and begin to build a decent corpus. Only thing... is that I'm more knowledgeable on string techniques and writing -with a growing understanding of woodwinds. Brass are my main issues... I just don't know the best ways to compose for them! I get that they can play soft... I understand that trombones and horns can provide nice padding to any texture -but, I'm scared to death to use them because I don't want to overpower the winds and strings. I can hear the brass instruments in my head (which is a good thing for orchestration) -but I still am hesitant to use them. Any tips or suggestions? -
Hello! I just would like to have some feedback on this track I wrote. I wanted to represent a typical traffic jam situation in a very big city. The piece is written for a large woodwind ensemble, piano and percussions.
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Hi! I'm new to this forum, so forgive me if I'm doing something wrong. I Just finished an arrangement for a string and woodwind orchestra of one of my studies into form (originally written for piano). Here's the video! I would love to get some feedback on it! Also, I expect to expand it in the future, altough this is already a finished piece. The download for the score can be found in the description of the video. Thanks for the attention! -
I was wondering if anyone could make some recommendations for artists that use a lot of woodwinds in orchestration. I can't say I have heard all of hans zimmer of two steps from hell's music, but I have been having trouble trying to find cues on when to add woodwinds into orchestration. I like the idea of starting off a song with bassoons and contrabassoons, bass clarinet.
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So after listening to Bach's Cello Suites and his Flute Partita, I figured I would do a similar thing but for bassoon. The fact that I am writing for bassoon is partly why I decided to start with an overture instead of a prelude(French overture if you want to get into the specific type based on speed pattern). That isn't to say that the slow section won't include some fast 16ths but I have been adding long notes as I see fit. I only have 13 measures so far, so I'm not thinking of uploading the piece yet. But I can only use the singing method for the alto range and low soprano pretty much(my natural soprano has gotten limited and squeaky over the years, and not because I overused my soprano so unlike before where I could easily sing up to a high G in my soprano, I can barely get a high C out) which means that as soon as the notes are in the range of a bass voice or a low tenor, I can't use the singing method to check for slur placement at all and in the soprano range, it isn't going to be all that accurate(Not that I would have the bassoon going into a soprano range all that often anyway). And I myself do not play bassoon, partly because the instrument, even at beginner quality is like $3000 worth. Whereas my beginner quality flute, I got for less than $100. That is quite the price difference between the cheapest and most expensive woodwind at beginner quality, excluding auxiliaries. If I did play bassoon at an advanced level, I could just write down the notes that I want without worrying about slurs, play the notes as written, and see where I run out of breath and how I naturally phrase it. The breath and phrasing together would determine where to put the slurs. But because I don't play bassoon, and I don't have a friend who I know is a bassoonist, this method won't work either. So if my vocal range is limited pretty much to alto and low soprano making the singing method not viable for bassoon and I don't play bassoon, nor know a friend who plays bassoon, how am I supposed to determine where to put the slurs in my Bassoon Suite?
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Short piece for three woodwinds.
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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!
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I'm scoring an action video game scene set in a desert Accompanying video: -
A looping action orchestral track.
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I thought you guys might be interested in my new series! I'm creating 2-3 minute videos about writing for every member of the woodwind family. I also am more than happy to answer any questions that are posted on the video. If you're interested, here's the playlist:
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My first orchestral piece finally done! Opus 12 is written for modified orchestral ensemble consisting of : Piano, Woodwinds : flute, oboe, A clarinet Brass : French horn Percussion instruments : glockenspiel, vibraphone, tubular bells, triangle Strings : violins 1, violins 2, violas, violoncellos and contrabasses. and harp. Composition consists of first part (moderato - E major/C sharp minor), second part (F major/D minor) and third part - modified first part. Since I'm a complete amateur high school student, any helpful hints and comments are very welcomed! Score in PDF format coming soon. For more music please visit : https://www.reverbnation.com/mademoisellelilaclucrezia
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When I'm composing for full orchestra, I often find that I have trouble writing parts for the Woodwind section. These are some of my favorite instruments as far as their sound goes, but I just can't seem to write very "elaborate" or "high quality" sounding parts for them. Any tips or tricks would be appreciated. Thanks!
