This piece is just a recording of me messing around at the piano. It was recorded with a cheap digital voice recorder that was too close to the piano, thus the popping noise. Also, the piano was at my school and was pretty old and out of tune.

I liked the idea though and decided to upload it. My playing skills aren't very good, but I hope you enjoy the improvisation. :P

http://www.newgrounds.com/audio/listen/208844

Besides the fact that I want to throw my cello at the TV if I hear any more popping noises, nice improv song. XD If you can, try putting it on finale and saving it as an mp3.

With better recording equipment, a better piano, and less pedal, it will sound quite nice. I liked those chord changes at 0:51 and 1:53. I suggest that you shift the range to a higher octave during a few parts to keep the piece moving, but since this was a shorter piece, it's not that big an issue. Actually, this would sound nice with a solo pan flute. Good job!

Nice improvisation there BD. I was comparing it with your digital works to see if there is a difference in the way of how your compositions come. Some parts reminded me to your other stuffs and others would sound like a nice implement. :P

Thank you all for the comments! If I can manage to transcribe this, I would very much like to make a song out of it digitally.

My playing style has similarities to how I compose on the computer, but it is more versatile in my opinion. When I improvise, I tend to take more interesting chords, I do more interesting work with the left hand (I think), I change keys sometimes, and it is just more dynamic in general. If I had a functioning midi keyboard and cable, I would love to record and edit my live playing. :)

I'm trying to compose in new styles. Here is something I started earlier today but am not sure how to continue. Any suggestions?

Romantic piano music? Are you going for a romantic style piano piece?

It reminds me of some Schubert hehe. If my memory serves me correct that is hehe. It follows a more contemporary chord prog though. I still like it! ^^ Have you finished it though haha. I think you still need to do the ending hehe.

Good job!

I definitely want it to be longer. I was thinking that this was just the "A" section and I need ideas for a "B" section.

As for style, I'm not sure what to call it. I love the romantic period but am not trying to mimic a specific composer. I've never really composed music of this sort.

The beginning of the sketch reminds me of the intro of the first movement of Beethoven's Pathétique Sonata. It sounds very well as it is right now; the only suggestion I can make is do not try to repeat the same chord progression (or at least try to use the same chord progression in a different way) while trying to create what is another variation with your melody in the intro, unless you intend to make this into a Theme and Variations piece (and from this, you can probably tell that I do not like "pop" music). XD

I'd like to mention that I'm kind of finding quite a few parallels with how this piece may turn out with Beethoven's Pathétique Sonata, but you probably didn't intend it to be that way.

Forgive me for playing around a bit with this. I think I made some changes which will help the fluency of your voice leading as well as make your chords more driving. Furthermore, I tried to make your pedaling more like how Beethoven would usually be interpreted so that it's not too muddled. I only changed the first part, so if you like any of the changes I made feel free to apply them to the second part (which it's totally fine if you hate all the changes that I made). If you have any questions on why I made any of those changes, feel free to ask.:lol:

I worked several weeks with my brother in Denver and acquired enough money to buy an incredible new computer (Dell Studio XPS 435), FL Studio XXL, and EastWest Quantum Leap Symphonic Orchestra Platinum Plus!!! :D The library is normally $1000 but I got it for $700 on student discount.

So I'm no longer restricted to free software and demos. Here is the first real piece I've thrown together, and it is my longest composition. Comments are welcome!

http://www.newgrounds.com/audio/listen/256795

A few suggestions:

1) Expand on your counterpoint; add some texture in the strings and any other instruments (I'm kind of imagining 16th note flute lines throughout the piece) and variety, which could help take your piece to a new level.
2) In my opinion, I see this as potentially being a good full orchestra piece.

Thank you for the advice!

I worked on the piece and improved upon it greatly. I added several more instruments as well as a few new melodies and little counter-melodies. The only problem is that for some reason, a weird static sound occurs around 1:52. I have spent the last two days trying to remove that...Hours of wasted time. Grr...So please forgive that glitch. That aside, I feel it is among the best work I've ever done.

Any advice or comments would be really appreciated...I worked really hard on this one.

Thank you for the advice!

I worked on the piece and improved upon it greatly. I added several more instruments as well as a few new melodies and little counter-melodies. The only problem is that for some reason, a weird static sound occurs around 1:52. I have spent the last two days trying to remove that...Hours of wasted time. Grr...So please forgive that glitch. That aside, I feel it is among the best work I've ever done.

Any advice or comments would be really appreciated...I worked really hard on this one.

This is absolutely beautiful :). I can see why you would call it some of your best work. It's absolutely beautifully done :) I'm not sure how I can help, but if you can tell me your specs I could try to offer advice haha. Regarding the composition, I think you should experiment with 7ths, 9ths and Add 9ths. That will give a bit more harmonic and emotional depth then just Major and minor. I think you had a few really nice dissonances, but I think there should be a few more, to really pull in the listener :) FANTASTIC JOB!

This is absolutely beautiful :). I can see why you would call it some of your best work. It's absolutely beautifully done :) I'm not sure how I can help, but if you can tell me your specs I could try to offer advice haha. Regarding the composition, I think you should experiment with 7ths, 9ths and Add 9ths. That will give a bit more harmonic and emotional depth then just Major and minor. I think you had a few really nice dissonances, but I think there should be a few more, to really pull in the listener :) FANTASTIC JOB!Thank you. :) I will try experimenting more with dissonances in my future works. The big buildup is full of them around 2:15-2:35 and I think that it is the best part of the piece. I want to do more of that.

As for my system specs, I have a Dell Studio XPS 435 with an Intel Core i7 920 processor and 6 GB DDR3 RAM. I am using FL Studio 8 XXL and EastWest Quantum Leap Symphonic Orchestra Platinum Plus Edition. Maybe I just need more RAM to run the samples? It recommended 8 GB on the products page.

Thank you again!

Thank you. :) I will try experimenting more with dissonances in my future works. The big buildup is full of them around 2:15-2:35 and I think that it is the best part of the piece. I want to do more of that.

As for my system specs, I have a Dell Studio XPS 435 with an Intel Core i7 920 processor and 6 GB DDR3 RAM. I am using FL Studio 8 XXL and EastWest Quantum Leap Symphonic Orchestra Platinum Plus Edition. Maybe I just need more RAM to run the samples? It recommended 8 GB on the products page.

Thank you again!

Hmm. I'm not too sure. Maybe it could be your computer, maybe it's your host sequencer. Does the glitch only happen when you record? Does FL have the option to record live or offline?

PS: Shit...platinum plus..? You should get a better sequencer in general!

Record? HA! I don't have anything to record with. It's all mouse point and click. *sigh* The glitch only happens on this song. I think it is because I have so many instruments running at once and those samples eat RAM and CPU like crazy. It might be the sequencer though.

I worked my tail off to get Platinum Plus, lol. It helped that I got academic discount ($300 off!!!). I'd like another sequencer, but I'm so used to FL at this point and I like the work flow. That and I'm practically broke. What do you use for sequencing?

Record? HA! I don't have anything to record with. It's all mouse point and click. *sigh* The glitch only happens on this song. I think it is because I have so many instruments running at once and those samples eat RAM and CPU like crazy. It might be the sequencer though.

I worked my tail off to get Platinum Plus, lol. It helped that I got academic discount ($300 off!!!). I'd like another sequencer, but I'm so used to FL at this point and I like the work flow. That and I'm practically broke. What do you use for sequencing?

Logic 8. haha. Well maybe work towards a good sequencer or an upgrade for your computer? Logic is apple only, but Cubase or something like that might work.

I have a few things I'm saving for. I should have some money soon.

-Upgrade to 12 GB RAM
-MIDI Controller (M-Audio Axiom Pro 61 *drool*)
-New Sequencer

It would be amazing to have those. :)

Something that would make the piece more interesting is if you break the melodic line the violins and the piano are playing (I think you got this comment already in the other forum). The part where both are doing the same, if you change the violins direction probably would call more the attention than playing the same exact melody. It's like giving more individuality to the violins than being just a follower in these parts. Would be a nice implement to the piece. But anyway the piece improved with the new additions, and now I can feel the piece transmit its emotions stronger. Well done with it. I also wanted to comment about a part that left me thinking that you could get a cool extension from it if was repeated again (I don't remember if you repeated it). But nice job! and hope the link help you!

Btw does the "hiss" happen just in the mp3 or does it happen in the sequencer too?

Congratulations for getting great equipments. C:

Without further ado...

Drifting

First of all, judging by the title and the first hearing, it feels like you just 'went along' as you composed but didn't plan ahead much. When writing pieces for larger ensembles, I think it's absolutely vital that you have some sort of road map to guide you. If you don't, you're going to run out of ideas or get stuck in the middle of it. In worst case scenarios, you will end up either: a) not finishing the piece. b) repeat yourself too many times (which I felt was the case here in your piece). So plan ahead, know your piece's form. It's like riding a horse, you as the rider is supposed to keep control. Don't let your horse go wild and take you somewhere you don't want to be taken to.

This piece, to me, felt like you first made your opening materials (the string harmonies) and just layered whatever came to mind on top afterward. Sure, there were a few nice moments as you pointed out. However, you want your entire piece to be packed with nice moments, not merely in certain spots. So I suggest that you should somehow keep track of how your piece moves.

Another weaker point I found in this piece was the contrast. Sure, you have mellow and flowing fragments linked together that everyone adores. But don't just feed us the same things over and over again. Give the audience contrast. If there's something mellow, have something bright and piercing. This is not only for greater variety, but also to allow the audience to anticipate for the return of your mellower materials, which amplifies the worth of your music.

I'm guessing you probably intended this piece to be background/furniture music. Though, honestly, if you write pieces with such a large ensemble, I think it definitely deserves better. So give your piece more thought!

On the more technical side of things:

1) You should expand on your rhythms, it felt too square throughout. The audience will tune out the drone-y/repetitive rhythms after a while. Furthermore, it's boring to play for the performers. Give rhythmic variety. Elongate a certain note an eighth longer, or shorten it an eighth. Always keep interest.

2) Read a bit more about orchestration and study lots of scores you like. There's more than just legato articulations for strings, arpeggios for harp, rolls for cymbals, etc... The more you know about the instruments, the more expressive you can be with your orchestral music.

3) This point kind of refers back to what I've said in the beginning of the post:

If you can get your point across in one word, then use only one word.

I realized that there are a few points in your piece that you repeated yourself quite a few times without any variation. You take out redundancies in your essays, and music is pretty much the same thing in that term.

~~~

Well, I guess I covered a few general things. I hope they are helpful. C: And have fun with exploring your EWQLSO.

Something that would make the piece more interesting is if you break the melodic line the violins and the piano are playing (I think you got this comment already in the other forum). The part where both are doing the same, if you change the violins direction probably would call more the attention than playing the same exact melody. It's like giving more individuality to the violins than being just a follower in these parts. Would be a nice implement to the piece. But anyway the piece improved with the new additions, and now I can feel the piece transmit its emotions stronger. Well done with it. I also wanted to comment about a part that left me thinking that you could get a cool extension from it if was repeated again (I don't remember if you repeated it). But nice job! and hope the link help you!

Btw does the "hiss" happen just in the mp3 or does it happen in the sequencer too? Thank you! The hiss happened in both if I recall. As for the piano/violin comment, I liked the color that they created in unison but appreciate the suggestion. :)


Congratulations for getting great equipments. C:

Without further ado...

Drifting

First of all, judging by the title and the first hearing, it feels like you just 'went along' as you composed but didn't plan ahead much. When writing pieces for larger ensembles, I think it's absolutely vital that you have some sort of road map to guide you. If you don't, you're going to run out of ideas or get stuck in the middle of it. In worst case scenarios, you will end up either: a) not finishing the piece. b) repeat yourself too many times (which I felt was the case here in your piece). So plan ahead, know your piece's form. It's like riding a horse, you as the rider is supposed to keep control. Don't let your horse go wild and take you somewhere you don't want to be taken to.

This piece, to me, felt like you first made your opening materials (the string harmonies) and just layered whatever came to mind on top afterward. Sure, there were a few nice moments as you pointed out. However, you want your entire piece to be packed with nice moments, not merely in certain spots. So I suggest that you should somehow keep track of how your piece moves.

Another weaker point I found in this piece was the contrast. Sure, you have mellow and flowing fragments linked together that everyone adores. But don't just feed us the same things over and over again. Give the audience contrast. If there's something mellow, have something bright and piercing. This is not only for greater variety, but also to allow the audience to anticipate for the return of your mellower materials, which amplifies the worth of your music.

I'm guessing you probably intended this piece to be background/furniture music. Though, honestly, if you write pieces with such a large ensemble, I think it definitely deserves better. So give your piece more thought!

On the more technical side of things:

1) You should expand on your rhythms, it felt too square throughout. The audience will tune out the drone-y/repetitive rhythms after a while. Furthermore, it's boring to play for the performers. Give rhythmic variety. Elongate a certain note an eighth longer, or shorten it an eighth. Always keep interest.

2) Read a bit more about orchestration and study lots of scores you like. There's more than just legato articulations for strings, arpeggios for harp, rolls for cymbals, etc... The more you know about the instruments, the more expressive you can be with your orchestral music.

3) This point kind of refers back to what I've said in the beginning of the post:

If you can get your point across in one word, then use only one word.

I realized that there are a few points in your piece that you repeated yourself quite a few times without any variation. You take out redundancies in your essays, and music is pretty much the same thing in that term.

~~~

Well, I guess I covered a few general things. I hope they are helpful. C: And have fun with exploring your EWQLSO.

Thank you for the awesome advice. I will keep all of that in mind for my next large ensemble piece. Your were correct in the approach that I took. I will consider form and contrast from now on. I also bought a orchestration reference book which gives the range, technical considerations, techniques, and timbres of 150 instruments. It is not a study text but will help me be aware of what I can do with an instrument.

--------

Here is something I started this morning. 8 bars of one melody, 8 bars of another, and then 8 bars where they come together in counterpoint. This isn't a piece I plan to really expand. It was more so just for entertainment and personal edification. Tell me what you think!

I have a few things I'm saving for. I should have some money soon.

-Upgrade to 12 GB RAM
-MIDI Controller (M-Audio Axiom Pro 61 *drool*)
-New Sequencer

It would be amazing to have those. :)

WHAT!? 12!?!? You so don't need to worry about 12 right now! ahaha. I'd go for new sequencer and the Axiom first haha. But, you might need more RAM haha.

The clarinet counterpoint are REALLY nice :) I like how they start interviewing that the end. I just want to see more!

WHAT!? 12!?!? You so don't need to worry about 12 right now! ahaha. I'd go for new sequencer and the Axiom first haha. But, you might need more RAM haha.

The clarinet counterpoint are REALLY nice :) I like how they start interviewing that the end. I just want to see more!

The way they made this computer is silly when it comes to RAM. There are 6 slots for ram, and they filled each with a 1 GB stick. With DDR3, I think you have to put in RAM in sets of three. I wish they would have just used 3 slots with 2 GB sticks (6 gigs total still) and left the other three to where I could just add three more 2 GB sticks. Instead, to upgrade, I have to completely replace at least 3 of the sticks they provided. It is ridiculous. :/
----

I added to the clarinet counterpoint. This time there are four different voices. Each of the four plays through by itself, and then the second time around, a new voice is added with each 8 bars. The last 8 bars of the mp3 shows the finished product. Please tell me what you think! :)

It's still good, but because the piece is midi and that for the first 2 thirds you don't have more then 1 line playing, so it sounds like the same instrument and player. Technically it is! o_O

Maybe fix? Then again that may be the desired effect?

It's still good, but because the piece is midi and that for the first 2 thirds you don't have more then 1 line playing, so it sounds like the same instrument and player. Technically it is! o_O

Maybe fix? Then again that may be the desired effect?
This was more so a compositional exercise for me than an orchestration one. I might go back, expand, and orchestrate to different instruments. This was just to lay down the melodies and have fun. :) Besides, I think if I ran too much more my computer would explode. It is beginning to crackle in the sequencer lol.

This was more so a compositional exercise for me than an orchestration one. I might go back, expand, and orchestrate to different instruments. This was just to lay down the melodies and have fun. :) Besides, I think if I ran too much more my computer would explode. It is beginning to crackle in the sequencer lol.

><

EDIT: The computer can't be helped. But if you did want to do this sort of piece, make sure you have those instruments making more of an indervidual tone or color. It will be better then haha. (In my opinion, so feel free to disagree ^^)

Choice a different instrument of the woodwind family for each line. So each line will have their individual timbre too, apart of playing something different. Also, when is counterpoint, something good to do is to pan the instruments.

Choice a different instrument of the woodwind family for each line. So each line will have their individual timbre too, apart of playing something different. Also, when is counterpoint, something good to do is to pan the instruments.

Mmn. Good idea!

I personally love the part at the end with the different melodies being played together; the harmonies you create are really cool. However, I think the way you introduced each monophonically in the beginning is pretty boring in a way.

The one thing chordally that bothers me personally is how you go from a V chord at one point to another chord which takes you in a totally different direction, and then you come back to that same V chord for a second, and it seems kind of awkward (example is 1:57-2:01).

I threw this together today after getting home from school. Just a little chorale type thing. Some "rules" are broken, but I had fun with it. What do you think?

(edit: I did this in the finale demo and had to take a screen shot. I started doing a harmonic analysis but didn't finish it. Just ignore that. I mislabled the fourth chord anyway. It should have been a V7 of IV I think)

First of all, I would say that since this is a chorale and it is using relatively simple chords, you should make sure you don't break rules such as the preparing and resolving of the seventh of a chord. The only time it really sounds good in tonal music to resolve it up is if you're creating parallel 10ths between 2 parts.

Second of all, I would say that in order to smooth out your voice leading (because sometimes parts are just jumping for what feels like no reason) you should experiment with leaving out the fifth of a chord, such as the third chord on the first line or the fourth chord of the second line.

Lastly, going from I 6/4 to viidim doesn't really sound work because it doesn't resolve the dissonance of the 6/4 chord, which is basically a suspension which goes to V or V7.

First of all, I would say that since this is a chorale and it is using relatively simple chords, you should make sure you don't break rules such as the preparing and resolving of the seventh of a chord. The only time it really sounds good in tonal music to resolve it up is if you're creating parallel 10ths between 2 parts.

Second of all, I would say that in order to smooth out your voice leading (because sometimes parts are just jumping for what feels like no reason) you should experiment with leaving out the fifth of a chord, such as the third chord on the first line or the fourth chord of the second line.

Lastly, going from I 6/4 to viidim doesn't really sound work because it doesn't resolve the dissonance of the 6/4 chord, which is basically a suspension which goes to V or V7.Thank you, that it very helpful. We recently went over I 6/4 chords in music theory, and I now know the function that they generally serve. I'll keep the seven chord resolving up in mind.

Right now we are studying circle progressions.

My arrangement of Amazing Grace for strings. Short and sweet.

http://www.newgrounds.com/audio/listen/280485

I listened to the choir one. I think it needs another more definitive cadence somewhere in the middle. The piece feels like a run-on sentence right now. Deathraider pretty much covered all of my other thoughts and then some so just follow those advice lol. His the choir dude!

In your arrangement of Amazing Grace, I personally would have the players greatly exaggerate the dynamic effects. I think it would give a greater impact emotionally.

Thank you guys for the advice, especially on the choir piece. As for amazing grace, I do agree that there should be more dynamic variation. I'll go back into my software and work on that.

I want to compose a piece for my high school concert band. Here is the first idea I've come up with. It is not finished (obviously).

Also, the bassoon is supposed to be a Euphonium. Finale 2007 did not come with a Euphonium sample.

You have parallel fifths between your trombone and Tuba in mm 9, which I don't think works in this case (if you need me to explain why I wouldn't use them in this case, I can). Personally, I would try a cm7 chord there to smooth out the voice leading, but if you are attached to the EbM chord you should at least make sure you don't have parallel fifths.

Why are parallel fifths so bad in this case? I know that it is taboo in chorale writing, but I like the way that it sounds. I was looking at the score to a concert band piece we are playing, and there was constant parallel 5ths between the tuba and trombone throughout the piece (Yes, I am attached to the EbM Chord :p).

(Edit: I just tried the C minor 7, and I DO like it better. Maybe because the C is dominant to the F and leads better? Thank you for the advice. I am still interested in knowing about the parallel 5ths though)

That rule applies to more than chorales; that was standard in any kind of piece from Bach on to the latter half of the romantic period, and for good logical reasons. Don't be fooled when you see a bunch of parallel "octaves" or "fifths" in music; that doesn't mean you should just use them whenever you feel like it; there is a logical time and place for them.

As you said, the parallel fifths you saw were constant. In your case, it is only between two chords. Parallel fifths are fine if they are being used to add color or if you are using chord planing. However, if you have 2 independent voices in a tonal setting which, as in your case, only use parallel fifths the once, it destroys the independence of the voices. In the case of the band piece which you were referring to, a)the voices were not independent and b) the effect was most likely a certain color, which makes sense and which works. However, in your piece the parallel fifths just sound like bad voice leading.

Parallel fifths *may* be used somewhat sporadically in other types of music which are not "tonal" in the traditional sense, but you should use caution and think about every instance where you use them. If you still want to use them in your song after this, that's fine, but I'm simply saying that I think it's a mistake...

That makes a lot of sense. I never thought of using parallel fifths or octaves to unify two voices. I will consider that from now on, and I edited the piece. Thank you for the timely explanation. :)

You're welcome. Honestly, I only recently learned a lot of the stuff I just told you due to my composition seminar, so I'm glad I could explain it clearly.

Edit: I noticed that you also have parallel fifths in (look carefully; they're somewhat hidden) measure 2, as well, but they're not quite as exposed, so if you like it then I would say it might be OK; you might want to play around with that, though. Also, in the second measure the first clarinet part doesn't really fit in my ear, partly because of that Ab which creates a m2 with the G; if you're going to use a non-chordal tone, I would suggest you make sure that the note that it resolves to isn't already being played in another voice for that reason. Does that make sense? Anyway, I think maybe you should play around with that, too.

Overall, there were some really satisfying chord progressions, I think just the individual lines need some work.

Yeah pretty interesting, but I must ask where the saxophone section is? They're standard in a concert band setting!

Yeah pretty interesting, but I must ask where the saxophone section is? They're standard in a concert band setting!Unfortunately, Finale 2007 did not come with Garritan samples of any saxes. As I work on this I'll work them in, as well as percussion and other instruments.

The opening sounds oddly like Inuyasha OST's Longing. It went off it around 17 so I'm curious to see where you develop this to. The way u ended, it can literally go into just about anything.

I want to compose a piece for my high school concert band. Here is the first idea I've come up with. It is not finished (obviously).

Also, the bassoon is supposed to be a Euphonium. Finale 2007 did not come with a Euphonium sample.

(I'm also composing a piece for my concert band (but in a rather atonal sense). :heh:)

Things I should note:

1) Avoid parallel motion with the majority of instruments that are playing at once.
2) A suggestion for scoring for the clarinets for (most of) the time: keep Cl. 1 independent of Cl. 2 and Cl. 3 - usually I have Cl. 2 and Cl. 3 with saxophones and Cl. 1 having either an independent line or going with the flutes/oboe, etc.
3) At least in my band, there's 9 "soprano (-ino)" clarinetists (2 per part + Eb clarinet). The three oboists have complained that they cannot hear themselves - therefore, I would suggest either going one per part at the beginning so the bassoonist can be heard.
4) Avoid slurring bass notes.
5) When you have a crescendo, you should add something more at the end besides just having all of the instruments playing at once (see Lessons 3A to 3C; pay attention to Belkin's comments: http://tinyurl.com/ygaa6gy).
6) Split your trombone into three parts or two (typically three), depending on your instrumentation.
7) Try to put the tuba in octaves with a trombone if possible.

There's a useful program for part writing that I use if you need help with 4-part writing (Google "partwrite program" - it's very useful for working with part writing). Try treating each line as an individual line (i.e. the clarinets - try not to rely on just chords).

Thank you for the advice! I must say, however, that my school band is very small and honestly unskilled. We only have five clarinets total (all Bb), no bass clarinets, no oboes, no bassoons, only three trombones, and basically only one french horn (me). In most sections, everyone who is not first or second chair is a poor player and no one practices. My band director doesn't enforce anything. :-/

So as far as orchestrating, I'm fairly limited. I'm am going to add more instruments than I have in that finale file, such as saxes, etc.

no bassoons and 1 horn...that kind of hurts lol. My highschool band had like 25flutes so the instructor pretty much just used us like the violin section lol. Fortunately, it was a pretty big band so we had someone on every part and 3 percussionists so I guess I was still better off than you haha. GL!

It's my junior year of high school and I've been pretty bogged down. I haven't done much composing unfortunately. :(

Here is something I did this morning though. I decided to just wake up and try composing something to get the juices flowing again.

The choral is nice. One measure reminded me to a FF's piece. There is not much I can say. Just that it could be longer. It feels like there is space for expand it. But anyway, it can serve as a warm up to get back to the composing routine, hehe. :)

Hope to hear more from you!

In music theory class, I was provided a melody and was told to create my own chord progression and accompaniment. I embellished it some. Any opinions?

In music theory class, I was provided a melody and was told to create my own chord progression and accompaniment. I embellished it some. Any opinions?

As long as it's not supposed to be 4-part chorale writing, you should be fine; however, I would experiment with the different ways you could harmonize this melody, i.e. try something besides arpeggios.

This is pretty enjoyable, actually. I don't see a problem with the basic type of accompaniment. I think you should expand on this, though! lol

so peaceful. since it's a short piece, it's like an epiphany or some sort.

It's nice. Though, make as many variation as you can think of for this, if you have not yet. That way you can work your creativity for possible solutions that can work as good as this or even better.

I received a $400 scholarship in the mail a while back to attend the Summer Music Composition Workshop at the UMKC Conservatory! It will start a week from today. :D Anyway, there will be a concert at the end of next week where student compositions will be performed by (I'm assuming) performance majors at the university. I'm supposed to come in to the camp with a piece that I am working on.

I started this little thing about an hour ago, but I know little about the stringed instruments. Is this fairly playable so far, or would it be way too fatiguing to keep up?

I started this little thing about an hour ago, but I know little about the stringed instruments. Is this fairly playable so far, or would it be way too fatiguing to keep up?

String instruments do not function as a piano does with more-than-one-note chords; these double stops (Violin I, meas. 5 for example) take time to be prepared.

I would suggest not to use them. It does not seem necessary to me in these passages.

The player would need to hold the B note in the A string with the first finger, then use the third finger to play the G note in the E string, then the second finger in F# in the same string (This finger will be next to the first finger holding the B). Then the third finger will go to the A string to play the D.

Edit:

Congratulations! :D

It's nice so far. Hopefully you get some creative stuff going there! The one thing I have to say is that your meter is poorly written (in my opinion). I think it would be clearer if doubled all of the note values as well as the tempo, but keep it as 12/8. That will make the rhythm easier to follow because the measures won't have so much in them and because the rhythm will be notated more simply (without all of the dotted eighth notes; dotted quarters tend to be much more common in compound meters than dotted eight notes).

It's nice so far. Hopefully you get some creative stuff going there! The one thing I have to say is that your meter is poorly written (in my opinion). I think it would be clearer if doubled all of the note values as well as the tempo, but keep it as 12/8. That will make the rhythm easier to follow because the measures won't have so much in them and because the rhythm will be notated more simply (without all of the dotted eighth notes; dotted quarters tend to be much more common in compound meters than dotted eight notes).

I beg to differ. This piece is actually in 4/4 where the dotted eighths equal eighths and the sixteenths should be rewritten as triplets and sextuplets.

The double stops are also fine, make sure you add an accent on the first of every group of the double stops though. The rhythms you used got repetitive very quickly; you need to have some breathing space in this piece. It's way too repetitive and dense. Displace the rhythm every so often, create interest, because right now, with all the repetition, it's kind of boring.

I actually Really enjoyed that! and Congratz on your scholarship!

I agree with the above, change the rhythm up every now and then. And this is probably because the piece isn't done yet, but the piano part is lacking. xD, So you might you wanna use the piano to help accent the string parts a bit more. In my opinion, a good place for that would probably be the double stops. But use the piano for what ever intentions that you want, because I liked what you had on it so far, so you probably have a plan for it. =]

I beg to differ. This piece is actually in 4/4 where the dotted eighths equal eighths and the sixteenths should be rewritten as triplets and sextuplets.


I thought of that, too, but to me that is kind of pointless because there is no 2 against 3 stuff going on; it's pretty consistent that the beats are divided in 3 and so doing them as triplets seems to me to be overcomplicating things.

I still need to fix the time signature, but I added and changed some other things. Varied some rhythms and such. Does the piano muddy it up too much?

The chords in the piano are a nice touch. I think the first 2 chords in measures 3 and 4 need to be different than in the first 2 measures, though.

In measure 8 (and perhaps other sections), I have a suggestion of how to drive the rhythm forward a little and create some more interest by using some 2 against 3 rhythms (which incidentally makes Sir_Dot's meter suggestion make much more sense :P), so I'm going to upload a pdf to show you what I did. If you don't like what I did, that's totally cool though.

Ah, that's fantastic! It's just what I was looking for to change things up, and I'll definitely use more of it throughout the piece. Thank you deathraider. :) I agree about the piano part as well.

I thought of that, too, but to me that is kind of pointless because there is no 2 against 3 stuff going on; it's pretty consistent that the beats are divided in 3 and so doing them as triplets seems to me to be overcomplicating things.
I agree with this, keep the 12/8. No need to "fix" the time signature. Also agree about the doubling because when you listen to it while looking at the sheet music, it clearly sounds like 8 beats are happening in each measure, indicating that the note durations and tempo are not where they should be.

To elaborate, I mean, 12/8 indicates that the beat is supposed to occur on the dotted quarter, so if it sounds like it's happening on the dotted eighth, then something must be off.

Since I am now adding 3 against 2 on some sections, should I change it to 4/4?

You're welcome! I'm glad you liked it!

As to the meter, I think it could go either way at this point; it's kind of a matter of preference. It probably doesn't matter that much as long as you fix it one way or the other.

I still believe that 4/4 is a better option. 12/8 has a different connotation than 4/4 with triplets; for me 12/8 is mostly reserved for a slower dance rhythm, especially that of a Siciliano. Due to your quicker tempo, the weight or emphasis of accent in your piece is mostly 'on' each of the beat, therefore I felt 12/8 would be a bit too... elaborate since you don't seem to place so much weight on the latter two eighth notes. Both methods could be practical, nevertheless.

However, since it's your piece, if you insist on 12/8, make your dotted eighth duplets; it shows the weight of the accent more clearly than dotted rhythms.

Edit: Oh, and I agree with Deathraider about considering augmenting the entire metre, be it in 12/8 or 4/4; it's easier to read that way.

A friend told me that the beginning sounded muddy with the piano. I've decided to cut the strings for the first four bars and focus solely on piano. However, it sounds empty and out of place to me. Does anyone think that it sounds that way as well? Do the strings come in too abruptly?

(I also changed the violin part to make it less monotonous)

EDIT: I thought about it, and I'm going to keep the beginning four measures with strings after all. I think that it just sounds unclear because of the reverb and Finale itself.

Nice. I liked the syncopation you added in the intro, and wish you would add some more. However, you need to fix the rhythmic notation of the syncopation in measure 3. If you use the "rebar" utility, Finale will do it for you.

The rhythmic movements in the strings are still monotonous. There's not enough contrast, it just keeps chugging along with the now slightly more variated version of what was in you original version. As I've said before, displacing some of the rhythms will help. As well, remember that silence is as important in music as notes.

I am in huge need of a favor. I started a project on someone's computer with Finale 2009 and now need to open it with my Finale 2007. Would someone with version 2009 or later please export it as an XML file and post it here so that I can access it?

Here you go. :)

Trevor Song v2.xml (http://www.filefreak.com/files/185499_s2wxn/Trevor%20Song%20v2.xml)

Thank you!

piano quarter was nice...
it kinda was "whoa where did the string come from?" but i appreciated the whole strings making wonderful noises with each other.

I went to a music composition workshop at the University of Missouri- Kansas City. I composed this in two days and didn't finish. A professor sight-read it and recorded it.

I told him to play it slowly and with rubato. I didn't expect it to be NEARLY this slow. Still, it was awesome having this performed and recorded. I plan to finish it eventually, and it will be much more grand.

Nice! The speed sounds fine. Faster will give a different impression, I think. Looking forward to hear of it when you get it done! :)

Beautiful! Strangely, I actually kind of like how it ended...

Isn't it so fun to hear someone else play your music? It's just about my favorite feeling in the world.

Yeah, I didn't feel like the tempo was an issue. I really like the gradual revelation of the piece. Fun harmonies.

Wow, he did a really good job. It feels like he's making love to the piano.

sounds oh so dramatic. i like how it ended too.

I thought the tempo was fine, actually, and liked the harmonies. :) I think it could use something more - I'd like to hear how this sounds after you've expanded on this piece. Well done.

Now that I've listened to the recorded several times, I am beginning to like what the performer did with the tempo. What impressed me so much is that the guy was doing a first time reading, and yet he played with tempo changes, dynamics, expression, and soul. He was one of the professors of piano performance. A young guy who had gotten his doctorate not too long ago. Brandon Kinsella was his name. It was an amazing experience hearing someone else interpret and perform my music in front of an audience. A feeling like nothing I've experienced. If you watched him, you'd see that he really was "making love to the piano", lol.

I have much more planned out for the piece. I already have a huge climax sketched out, and some ideas on new sections. Thanks for the comments! Oh, and here is the score.

I knew I was hearing something different that's changed about your style when I heard that recording (and it's just confirmed as soon as I see the score). I love the use of color (dissonances). Seventh chords, a few ninths here and there, and it really intensifies the emotion. You probably know for a fact that I really like using color chords such as these, and I really like how you've used them here. ^_^ Well done.

I knew I was hearing something different that's changed about your style when I heard that recording (and it's just confirmed as soon as I see the score). I love the use of color (dissonances). Seventh chords, a few ninths here and there, and it really intensifies the emotion. You probably know for a fact that I really like using color chords such as these, and I really like how you've used them here. ^_^ Well done.I used to dislike dissonance. At music camp, I heard a Charles Ives piece where the dissonant, hectic climax made the very tonal ending that much sweeter. It showed me that dissonance can add color and make 'regular' harmonies more beautiful in contrast. I'm glad that you noticed, as I'm working more of it into my harmonic language. :)

that was beautiful.

A new genre to go with a new sound library. Thoughts? :)

It makes me thing of crystals of different colours, maybe ice. It has a cold feeling to me. I like it. :)

Let me guess the library, EWQL Piano?


Edit:

This is so short, but I have it in repeat and I am not tired of it. It just grow in you, lol. This would work really well as a loop if you intend it to loop.

It makes me thing of crystals of different colours, maybe ice. It has a cold feeling to me. I like it. :)

Let me guess the library, EWQL Piano?


Edit:

This is so short, but I have it in repeat and I am not tired of it. It just grow in you, lol. This would work really well as a loop if you intend it to loop.

It makes me think of ice as well! :)

The piano sound is from EWQL Goliath. This is only an intro so far, but I can see what you mean.

The title means "Transient Wind" in latin. I still need to go back and edit tempos/dynamics, but here is a complete rough draft.

The beginning figure is wispy and difficult to definitely grasp, symbolic of a passing wind. The song music eventually gains structure and builds into a sort of storm, only to die down and dissipate as freely as it came.

Comments or criticisms? ^_^

I like it. I think it really feels like the wind. The only thing is that the combination of the reverb and the absence of pedal lifts gets in the way a little bit when when you start adding more of the low register of the piano. Maybe back off of both a little bit?

I like it. I think it really feels like the wind. The only thing is that the combination of the reverb and the absence of pedal lifts gets in the way a little bit when when you start adding more of the low register of the piano. Maybe back off of both a little bit?I agree. The pedal and reverb have been adjusted along with dynamics. I still need to modify tempos to make it more human though. Does this sound better?

Yeah, that's helping a lot. Actually, I think you could afford to take out a couple of the pedal lifts you put in if you want to make things more fluid again; it only gets to be a problem when you bring in the low piano register, and you fixed that.

awesome intro. took my attention like the wind you intended it to be. i could picture my hair just becoming more frantic as the time goes. the piano sounds wonderful, too, the dynamic and all syncopation was a perfect addition. i also like the way you tease here and give a firm tug there. it's absolutely great. I really enjoyed it.

Ventus Transiens [Editing Process]... loved the opening. I find it funny that it has a big tinge of what I am writing like today. Love the folk-melody and counter-runs in the left hand. It is all very fluid, just as the wind is.

I love the melodic parts, but stuff like the opening and at 1:48 is where it is the best, and I say this because these parts don't have me "wanting" anything (maybe a little more dynamic variation, but not much at all). Where the melody comes in, there has to have more going on in the bass. This is a piano piece, and it has so much potential...in my humble opinion, I feel as if the bottom was touched a little more, it would make this piece totally solid and I'd love it.

Keep it up, buddy.

Thanks, man. I'll see about changing that bass figure.

What I need help with is the intro. Should I just make it 12/8, or switch between 9/8, 6/8, and 12/8 to try and fit the way that the phrases are? It is really difficult for me to even grasp what it is in notation.

I would almost have no measures at all, really. I say this just because the nature of the opening doesn't feel like it has "phrases" but is more of a colour.

This is all totally just my opinion and what I would do, I guess. Have fun trying to do that in Finale or whatever you use for notation. xD

It took a lot of work, but I have notated the piece. :) Any suggestions? I want to submit this for my college portfolio.

(EDIT: Just reuploaded the file. I had to respace it to get it looking pretty)

Someone enjoyed my piece Sadness and Sorrow enough to write lyrics inspired by it. Then, a girl known on YouTube as KateTheGreat19 came in contact with the lyrics and piece and recorded her own singing over my track. I didn't even realize it existed until last night, but it was made a year ago. What do you think?

http://www.youtube.com/watch?v=aymyRz5cmZI&feature=related

Sweet! It add a deeper touch. It's nice that someone else was interested to add lyrics and to sing your piece!

That's pretty cool! I can't believe no one told you they did that, though; that would drive me nuts!

It turned out that someone had claimed my piece as his own and then asked a friend to write lyrics for it. The friend then asked another friend to sing it. The original guy claimed to be BlazingDragon though, so the piece was still credited to me. He eventually confessed, and the lyric writer contacted me to apologize. My real name is now clearly credited and all has ended well. :)

Here is a new piece. It is about a peddler who is down on his luck...As you listen, imagine what happens next and finish the story yourself.

Edit: I re-uploaded the PDF and Finale file after cleaning them up quite a bit. There is much less clutter now!)

I can see the cold air of Russia. A full bearded man tells an old story. A puzzling story. A passionate one at that. The air heats up as the man's blood heats up. In the end... it's just another old story that can't be changed.

Hope you liked my interpretation.

Oh.. and I hope to have a guy who steals my songs one day. hahaha.

That image fits the piece like a glove, Ander! I was thinking that the harmonic minor gave it an Eastern European vibe, so Russia works quite nicely. Thanks for the interpretation. :D

I would have liked some reverb in the mp3. Also, I really liked the fast section and would have liked it to go on longer and gotten even more crazy!

Overall, a cool little depiction!

Thanks Deathraider!

Unfortunately, my desktop computer is currently inaccessible, so I'm stuck with Finale 2007 at the moment. I'll see if I can go back and add reverb soon though! I wanted to build the fast section more, but I was afraid that the climax would lose its power if it was too long. I'm still trying to figure out how to develop a piece and develop a really killer climax. Is there a composer or book that would be really good for this, or is it just a matter of experimentation?

I'm challenging myself to compose a piece a day for 30 days. This one is video game sounding to me. Any thoughts?

Cendrillian:
http://www.newgrounds.com/audio/listen/399221

Yeah sounds like if came from a Japanese video game. I think is good as it is. Fun piece. :)

Thanks, Nyu!

This one is short and cinematic. Thought?

http://www.newgrounds.com/audio/listen/400129

I need to do something like this (the 30 day challenge). I am so slow at composing...

I usually compose a piece every couple of weeks if not months. So, it has been really great for me to do this challenge. I highly recommend it.

Maybe I shouldn't post new pieces so frequently though, lol. :sweat: But I really like this one! What do you think?
http://www.newgrounds.com/audio/listen/400402

I like it! It's a little bit sappy, but it's got some really nice moments.

Someone asked me to compose a piece for a story that they are writing. It is not terribly melodic, as it is background music, but I'd like to know what you think.

http://www.newgrounds.com/audio/listen/412946

PS. It's called Beautiful Betrayal

Love the screeching sounds. Personally, I see this as good video game music for a sort of haunted setting. Nice job.

Sounds nice for a cut scene in a game or a scene in a film. I agree with Clarinetist, it would work for a haunted setting. The waterphone gets you in the mood. xD

The first thing that caught my attention was the title. I'm like, 'why didn't I think of that?'. It's a great title, is my point. The piece itself is wonderfully orchestrated, too. It could be a scene in a Max Payne... the movie or the video game, either one. It doesn't have to be Max Payne, but a detective movie. I'm just saying Max Payne, because it's got that dark twisted burden feel to it. A detective in a rainy night. Heavy rain, with police lights going wild, but in slow motion. The noises around is suppressed. The detective inches in closer to the crime scene, but he has yet to know what to expect. The detective comes to a stop. The heavy raindrops bounces off his face. The headlights of cars smear across his face, making it appear in and out of shadow (the screeching sound). I really like it.

is it at all possible to control the pitch for a waterphone?

Thanks Clarinetist and NYU001! I had that idea of a background scene in mind. :)

Ander: The person who requested that I write the piece came up with the title, actually. Not my idea! I haven't seen Max Payne but would really like to. Thanks for the awesome imagery!

KaitouKudou: I can only adjust the pitch that it starts on. After that though, it kind of bends around a bit.

This one wasn't particularly thought out or planned. I just sat down and composed what I felt. What mental image does it bring to your mind?

http://www.newgrounds.com/audio/listen/423851

I see.... someone in a deep thought. hahaha. Well... it was heavy... and yet easy to listen to.

I see.... someone in a deep thought. hahaha. Well... it was heavy... and yet easy to listen to.
Fair enough, lol. That's an interesting comment though as far as heavy and yet easy to listen to. I like it.

You know what... I didn't even realize I said that. I meant it as... the chords were easy to listen to, but the progression was heavy.... heavy as in... dark and moody.... It's true.

Hey!

Just listened to you Train of Thought composition. Sounds pretty cool! You know what I think would enhance this composition? If you hade some synthy like sounds to accompany the piano that would be soft and cressendo and decressendo in a wave/tide like manner. Does that make sense?

Keep those compositions coming!

Yo, for some reason this kept making me think of the Paolo Conte song, "Reveries." http://www.youtube.com/watch?v=OyzShwZ_eG8&feature=related Also a moody piece. I like your style. The motif in the left hand was haunting and effective. I wish we'd had a little more development with the melody or something. You did fun things with syncopation, but it was never really melodic. Still, you nailed the mood. Good job.

Porsche: I have no experience with synthesis but really want to learn more! That is something that I'll try incorporating more. Thanks for the advice!

Alfonso: You are absolutely right about the melodic development. I hit a compositional brick wall in the last few months and basically stopped writing for a period. My goal here was just to finish a piece and get myself back into the grind of frequent composition. I listened to the piece that you linked, and I dig it. Definitely will be checking out more of his stuff. Thanks for the comments! B)

YAY! So glad you like Paolo! He's crazy—and best when he's rocking the kazoo. Thumbs up for getting "back into the grind of frequent composition!" :yes:

I decided to start a nocturne-esque piece today, which is a style I have never tackled. I don't know where to go though- this is normally the place where I just end a piece. :hey:

Composing long, structured pieces is perhaps my greatest weakness. Is this curable? Should I go study form and structure? *sigh* Anyway, here is what I've got.

Yeah. This totally rocks! Good job.

Thought I might let you know: I heard the first two beats, and I thought of this:


http://www.youtube.com/watch?v=m5qeuVOIbHk

Sheet music: http://216.129.110.22/files/imglnks/usimg/0/0e/IMSLP01197-Chopin_-_Nocturno_No._20.pdf

Otherwise, I don't have too much else to say - keep at it! I want to see how this turns out!

Actually, I am intentionally ripping off of the C-sharp nocturne. :p In fact, they are in the same key.

Since I've never composed in this style, I figured, "Why not emulate the master?" So I started off with his accompaniment pattern in the left hand and went from there. :)

This piece is definitely moving in a different direction, and I'm not sure whether or not I like it. Here is what I've got now, though.

Hey its sounding pretty awesome! Can't wait to hear you finish it!

Still needing to finish that nocturne, but here is something I am starting. I haven't decided where to go with it though.

If I may suggest. I think you should make it a rainy theme.

The piano does makes you think of rain. The percussion adds a tense/anxious feeling like if it were related to a scene of people needing to get something done but must be careful of how they do it. Also... it makes me think of someone searching for a lost person under the rain. It is an evocative piece BlazingDragon!

I second what's been said, and I say we need to hear more.

Okay, I need help. In measure 14 of the nocturne I started, I can't figure out what the heck that first chord is or how the heck it functions. I just heard it and put it in, and I darn like it. My composition teacher, however, keeps asking me if it is what I really want in there. It's not a secondary dominant, it's not a borrowed chord...agghh! This is killing me.

You analysis experts out there:

...please...help...

Here is the first completed (very rough) draft of the nocturne. Any suggestions? I definitely want to flesh it out more.

This is referring to the original c# minor version, not the newest one.

Sorry, I don't have too much time to listen to the whole nocturne, but about that chord at meas. 14: here's a good hint - write the C naturals as B#s and that F natural as an E#. In the bass line, you'll get A - E# - D# - B#. I would analyze that A as a pedal tone, the E# as... not sure about this one, but for the last two chords, you're hinting strongly at either a V(7)/vi or a vii°7/vi - secondary dominant or secondary leading tone chord leading to the c# minor chord. Read up on these if you haven't learned them yet.

EDIT: I thought about it for a sec, and you can treat that E# as a "passing tone" to the F# in the melody (essentially, a few octaves' displacement of a passing tone for a melody a few octaves up). Or you can treat it as a "neighboring tone" and spell it as an F natural (notice the E - E - F natural - E movement in the bass, meas. 13-14).

That is a fantastic piece BlazingDragon! :D The only think I disliked was how it ended, lol. I can't give you suggestions except that I wanted to listen more.

I finished the nocturne a while back. A N6 was added in there, the ending was changed, etc. Here is the mp3:

http://www.newgrounds.com/audio/listen/473032

Thanks for the analysis, Clarinetist. I think that it makes most sense to analyze the chord as a V7/vi with a pedal in the bass. The fact there are all the notes of the V7 makes that apparent enough...That E# is perplexing though. I can see what you are saying by it being a passing tone, but at the same time that is a bit of a stretch. That might just be the best explanation though, as the note doesn't resolve anywhere in the bass clef.

I just scored my first short film. It was tough to get the timing right with the video, but the entire experience was very fun. Here is the soundtrack I made. Thoughts? :)

http://www.newgrounds.com/audio/listen/486325

I don't know how much help I could be since you already scored. But the music itself is already nice even without the images, so I'm definitely curious as to what the short film was about. I think the piece flows very nicely. I just wished that there was more to it at the 1:20 mark to 1:23 maybe? I just thought you could do more with harmony there. I don't know... but it seems to lack something there, can't quite put my finger on it. Maybe going a bit minor might be what I'm trying to say. Don't quote me on that one since I'm just throwing out a musical term out there. However.. the ending was very soothing. Overall it is a very nice piece and I really love the ending of the piece.

Ander, thank you very much for the critique! If you are interested, here is the film itself, fresh off of youtube. :)

http://www.youtube.com/watch?v=xI7R6dko1TI&feature =youtu.be

Congratulations. I like how you scored the short film! My favorite part is from 1:45 to 2:06.

Amazing work!

I think the sound effects, especially the speaking parts, are too quiet.

I also don't really like the reverb on the piano, maybe the "Room Size" for the reverb should be lesser.

Nethertheless this short movie looks really cool, looking forward to see further works.

Wow! That was pretty cool! Great job with the score, it really goes well with the short film!

Thanks for the comments regarding the film score! I'm hoping to do more of them soon. :)
@marioverehrer: I only did the score and not the sound effects, etc, but I completely agree with you about them. Looking back, I agree about the reverb too.

Here is a new piece I just made yesterday. It evolved out of an improvisation.

Impromptu - Spring
http://www.newgrounds.com/audio/listen/498973

It's great. Quite sentimental. I enjoyed the start of the final part. It reminded me to Betty la fea soundtrack (The original from Colombia).

I'm not familiar with Betty la Fea and will have to check that out. Thanks for the comment. :)

That last piece posted was actually for a composition contest called the 2012 Newgrounds Audio Deathmatch. I made three other pieces for the competition and ended up getting 3rd place out of about 200.

Children's Overture (cinematic, orchestral, fast paced)
http://www.newgrounds.com/audio/listen/501473
Alpine (jazz fusion/liquid DnB )
http://www.newgrounds.com/audio/listen/503824
In Remembrance (Orchestral, more 'serious' but still quite cinematic)
http://www.newgrounds.com/audio/listen/505940

I feel like I've really improved since starting on this forum when I was 13. I'm thankful for all of the comments and constructive criticism here over the years.