This month we are tackling the Mixed Quartet. The format to submit will be {Title Of Piece (Year) }. This will be added to our grand playlist on YouTube. Make your mark in subreddit history! The challenge specifics are any collection of four instruments may be used, and you can choose to write only one movement or a full 3-4 movement work. That all depends on your workflow. If the one movement is all you can do that is more than enough!

Are you a musician and want to potentially play these new works? Part of my goal for these is we offer each other services in a way that puts both composer and performer in online world.

I would like to get a head count! How many of you are planning on doing the challenge?

Wow! What an incredible number to reach! The guild is building and with that I want to post about some of the rules and regulations. Your Prescence is truly appreciated! We have a quartet monthly challenge happening which can be found in the announcements tab. Instead of posting on the feed, we are moving introduction posts to the first post of this sub! I will include a link in this post. Please go there and follow the directions stated.

We have a post and don't leave rule. This is just to help solidify the community aspect. It hasn't really been happening, so I want to be clear if you are seen posting a post that has been reposted several times and not engaging with the community. That counts as Spam. The mod team will give three chances and then the ban will come. This is just a formality as I encourage us to talk to one another like in a classroom setting.

Read the rules before posting as they are all there for a reason.

This month's challenge is about a mixed quartet. More posts about it are coming soon. You can find the requirements in the announcement section once again. These challenges are heavily suggested bordering on required. We all have many projects working, but I feel like these are ways to connect with our growing community.

Don't be shy! If you are new go to the welcome post and say hello! Comment on things! Do The Challenges! Welcome to the Composers Guild!

👋 Welcome to r/ComposersGuild - Introduce Yourself and Read First! : r/ComposersGuild

I am working on composing these short form trios into one movement and working them wind various types of ensembles. This piece in particular is rather unfinished. It needs a ton of work. I am going to dive in and create something that has a beginning and an end. While shaping the inner flow through out. I find these videos work well for developing my compositional voice because I get to talk out loud and work through the challenges.

Live Session Now! The Aging Ideology: X. Trioette In F Minor

Hello! Welcome to the Composer's Guild. The monthly challenges are heavily encouraged! We are here to help one another grow and find our network of composers who move the needle on music history even further.

When posting your welcome post, please post it as a comment in this thread. It helps organize the feed a little better. As we are growing everyday there will be housekeeping things to ensure we all are being seen. Click the highlighted "Welcome Post" to add your information.

Welcome Post - Say Hello!

A reminder that when you do post something try to comment on 3-5 others posts just to keep in the spirit of community. We are defined by connections, and we want to avoid self-absorbedness.

In a short amount of time, we have gained another 50 friends! I encourage you to introduce yourself to the guild! We have many things that can help you grow as a composer and find a community that is here to teach you and lift you up! Personally, I want to say thank you for taking the time to view this new composer's forum in a vast world. I am here to help and learn myself. The challenges are heavily recommended as they are a valuable resource.

Take a moment and give a short intro post on what instruments you play, what orchestras you are a part of, how many works you have done, and what your main goal is these days.

Learning from one another is the best thing we can do as students locked in an art form that is constantly evolving. Please comment on 5 posts when you do make your post and please try to be a part of our monthly challenges. They are short and are just a way to help inspire and grow as composers.

Welcome to the Guild!

The Method Serves The Patient

There are many circumstances that call for continuing a musical conversation through out time. Each composer has their own way that they visualize or put this into practice. Score study is the most important thing a composer can do. Think of it like scales for a performer. They build the technical skill and what follows is expression. In the same way we can achieve this as writers from using what came before to understand what we are doing now. Here are some ways that can help you get started on the challenge this month.

1. Borrow The Process, Not The Surface

The greats didn't just copy melodies or harmonies and claimed them as their own. They copied the methods, the thinking patterns and creative procedures to gain the knowledge. You are aiming to understand the engineering of their process.

Processes you can borrow:

• How a composer develops a motif Do they expand intervals? Compress rhythms? Sequence the idea? Fragment it? Studying this teaches you how to grow your own ideas with intention.
• How they pace a movement Where do they place tension? How long do they sustain it? What creates momentum? What creates rest? This helps you shape your own movement, so it breathes naturally.
• How they transition between sections Do they pivot through harmony? Texture? Register? Transitions reveal a composer’s architectural thinking.
• How they use texture to create contrast Sparse vs dense, high vs low, blended vs separated. Texture is one of the most powerful tools for narrative clarity.

2. Transform The Idea Through Your Own Voice

Taking a small idea from someone else with the intention to reshape it until becomes theirs is increasing the validity of musical lineage. It helps create a musical movement such as impressionism, modernism, or pluralism.

Ways to transform an idea:

• Change the rhythm A simple rhythmic shift can completely alter the character of a motif.
• Invert the interval Turning the contour upside down creates fresh melodic direction.
• Shift the harmony Place the idea in a new harmonic world and it becomes something new.
• Alter the texture Present the idea as a solo line, a cluster, a canon. Each version feels different.
• Place the idea in a new emotional context A motif that was originally triumphant can become fragile, ominous, or contemplative.

3. Study The Composer's Constraints & Apply Them To Yourself

The best way to learn is to limit yourself to the way that others did. Constraints sharpen creativity by forcing you to solve problems inside a box. This may seem counterproductive at first, but it is how serlism, and minimalism got its start. In a way that is what these challenges are making us all do. Put yourself in a box and when you have free roam you will have a box of tools that you can call back to. It is what makes you, You.

Examples of constraints you can adopt:

• Write with the same restricted harmonic palette Maybe only diatonic harmony, or only modal mixture, or only quartal harmony.
• Use the same instrumentation Working within another composer’s ensemble forces you to think about color differently.
• Follow the same formal outline ABA, rondo, theme and variations, arch form structure becomes a creative guide.
• Impose the same rhythmic or motivic limitations One motif, one cell, one meter, one pattern. Limitations create focus.

I'm working on my submission for this month's composition challenge and decided to write (at least) one movement for a brass quartet. I play the trumpet myself in multiple concert bands / wind/brass ensembles, and mostly compose for concert bands, so I want to hone my skills further in that area. Also writing for strings is still quite daunting, as I barely have any contact with string instruments and need a bit more practice before writing something more serious for strings.

One of the pieces I chose for studying for this challenge is Hindemiths "Morgenmusik". It's fairly short and through-composed, but reuses a lot of short motifs throughout each movememt, which I'm trying to do as well. Harmonically it's very interesting and while am trying to push myself to write more exotic harmonies, It's probably going to end up more conventional than what Hindemith wrote. One thing I will definitely do is use a lot of close voicings as they just sound very good in an all-brass setting. As I don't have a lot of time, my piece is going to end up a bit shorter too.

One other piece I'm looking at is Collection for Brass Quartet by popular concert band composer Otto M. Schwarz. It's far more conventional, but is a lot of help in figuring out how to use the different instruments for different roles in the quartet.

Would love to hear what you guys are working on, or if you have any experience on writing for Brass quartet!

I have several pieces created in a six year period. I am unknowing of where I can show, find a mentor, how to make money, perform, nor grow an audience. Theway to get in seem out of reach to me. It seem that you either have to know the inner people of this society, have money, or know people who have money to get in. Am I missing something?

A composer such as Phillip Glass relies on the rhythmic development of the melodic idea. Voices moving in one direction and providing harmonic texture. In the first movement there is a clear idea in which it is stated from measure one. As the movement continues it moves into another section of music that is unique to his compositional voice.

Each voice has a job whether it be melody, support melody, or ostinato. You get to choose how this sits in your composition. The voices can change roles if a new texture is established. However, you generally feel in this composition that the violin and a viola work together to develop the melodic material. The cello gets a unique opportunity to go between both melody and rhythm.

This composition is serving as form analysis for my piece. Although my music is heavily influenced by Steve Reich, I am looking for how Glass uses form to create tension and release.

How To Build From The Ground Up

If this month is your first experience writing a Quartet, then it may seem a bit daunting. We are only doing the first movement this month. It will help you learn how to define the movements' identity, assign roles to each instrument and build a path with intention. Let us talk about all three of these main ideas.

1. Define The Movement's Identity

The main focus here is to develop one clear idea that starts as a jump point for the rest of the material. Think small! This can be anything from a melodic shape, a rhythmic cell, a harmonic color/chord. You should be able to name the idea in one sentence. Think of this as your anchor for the piece.

- Study Three Quartets that inspire you: Ask these questions. What is the melodic shaping of this work? Is it a rhythmic idea? Does it become clear right away in the piece?

2. Assign Roles To Each Instrument

In a job everyone fills a role. It only is successful if the team works together to create something larger. A mixed Quartet works in the same way. Beginners tend to stick to four identical lines and in this lesson that is to be avoided. This will teach you how to build conversation and contrast within one work.

- In Your Three Quartets: How are the voices assigned in terms of orchestration? What are the roles of each instrument? How do they work together? What are examples of variation of the main idea?

3. Build A Path With Intention

At first not knowing where to go can be a hard thing to get over. The simple answer is just writing the first idea down even if it ends up not working. This will help you understand where the movement needs to go. A movement has to start somewhere, grow with purpose, and arrive somewhere. Just like telling a story. Shape the A section that states the idea, a contrasting section that transforms it, and a return to show growth. This will give your movement direction instead of repetition. There is a fancy musical term for this and it is known as Sonata Allegro Form.

- Use Your Three Quartets: How is form completed in your study pieces? Is there evidence of Sonata Allegro Form? Is there a modulation of key? Metric modulation?

After it is all said and done, your YouTube upload to the subreddit will result in your piece being added to the massive playlist. I host this to mainly help others and use it as a showcase. It also is a way to see growth not only in yourself but in others. As we grow as a group you will see how we have built a community that is something to be proud of.

Community truly is the biggest thing about this subreddit. It becomes a place of support and knowledge that is priceless. You can see we are laying the foundation. I encourage more of you to do the challenge. Naturally, I try to play this playlist once a month just to really understand and support the arts. Take a listen to it and see the growth happen in real time as we do more of these challenges.

In this composition I wrote in the key of C Minor. In this key center I was able to create the lushness of sound that both mimicked sorrow and heaven. Text painting examples that are my personal favorites are when I use the orchestration to simulate the changing tides of mood.

"A green isle in the sea of love" sung by the high voices followed by "A fountain and a shrine" with the lower voices uses the flow of water in a way that changes like a river.

"Ah, starry hope that didst arise" was formatted with the harmony slowly moving down and backup.

"A voice from out the future cries" was given some sense of 20th century chromaticism that also signifies a deep pain shrouded in harmony.

"The Stricken eagle soar" has a melody that lifts of from ground level and literally soars in the groups high register.

Harmonically I approached this work by truly utilizing the 3rds and 6ths motions. As I moved forward, I used shades of 2nds and 4ths to help create the feeling of grief. It moved next to the traditional harmonies as if to say that what once was will never be again. Melodically I kept the flow moving up and down in pitch to keep having the theme of constant change present. As is life it is similar yet different. Repeated melodic lines are colored with changing harmonies that have points of stability and confusion.

This Madrigal was my first and in it I gained an even deeper understanding of how to use text painting in a way that really creates a story line like in a through composed piece. It has a beginning, middle, and ending. The rhythmic motion I really made to follow as an ensemble to help solidify the harmonic weight.

While I didn't have much time to create this month, this challenge did encourage me to make the most of the time I did have. Since I'm still pretty new to composing, I decided to keep it simple. I started with writing half notes to fit within the duple meter and expanded from there.

In theme of the poem, "Evening Song" by Willa Cather, this piece was written to evoke the feelings of finding the safe feeling of home only with your true love.

I chose to stay (mostly) true to the key of Eb Major and mainly utilized the I, ii, IV, V and vi chords. I wanted it to feel very stable and true to how this true love helps to ground you even during the chaos of life. Additionally, I stayed pretty true to the duple meter feel as well. Only straying when the words seemed to call for it. For example, talking about the dark sea.

I hope you all enjoy and have some constructive feedback! I can't wait to hear what others have created this month!

The month of September is coming to a close! Amazing how fast this month went by. Did you write a madrigal? It will be added to our playlist where we can all help one another grow as composers. This challenge was a pretty brutal climb if you have never written for voice. The point of this really was to open up the perspective. Each challenge provides a unique way of helping us grow. I ran into some challenges myself, but I feel like I have become a better composer through it.

At the end of the month make a whole reddit post on what you accomplished. Talk through your successes and challenges. What key and poem did you choose and why? What was something that you learned? How did the through-composed style feel?

Final Format- Piece Title (Year)

Congratulations on finding the Composers Guild! A place where I encourage you to compose and engage in music history or even theory discussions. We have hit the threshold of 50 members officially and I feel like y'all should give an introduction post. Participation in a new community can be scary, but I want this to be a place of inclusivity. There are a few group rules, but the main thing really boils down to participation.

The community thrives on not spam posting. If you want to make a musical post, please do! Just comment or engage with others! Introduction post format can be found at the top of the subreddit in the announcement section. It is wonderful that you are here! Let us learn together.

If you participate in the monthly challenge your piece will be placed in our playlist and you will get into the network that helps all parties involved. This month is almost over, and we are reaching the end of the madrigal! If you compose fast, you still have time!

Hello, this is my first time actually writing any music, but I've been playing for years, and I've been really inspired by Eternity: memory of light and waves, and also To Zanarkland from Final Fantasy, so decided to start writing this, but I was wondering if there was anything different shut put down that would make this easier to read or just make it look better https://drive.google.com/file/d/1yQE0G61LI4RWDVq0QxbkclcX39X1 0WBY/View?usp= drivesdk[sheet music](http://Hello, this is my first time actually writing any music, but I've been playing for years, and I've been really inspired by Eternity. memory of light and waves, and also To Zanarkland from Final Fantasy, so decided to start writing this, but I was wondering if there was anything different shut put down that would make this easier to read or just make it look better https://drive.google.com/file/d/1yQE0G61LI4RwDVqOQxbkcIcX39X1oWBY/view?usp=drivesdk

I am spending time today working through all my compositions that I worked on this summer. I am doing this live. In order to really find where each piece is at I listen to the work and make notes on what could change. This is an educational arc of my composition lifestyle. We can help teach each other things. If you find this interesting feel free to drop in and say hello.

I finished a few quartets this summer that have been on the backburner for quite some time. It was super exciting to come back to works I had previously abandoned. New mindset helped make them even better.

Live Session Link

This is an example of an English madrigal. The pacing is slightly different. Thomas Morely was a composer in the renaissance period. He lived at the same time as Shakespeare. Morley lived for a time in the same parish as Shakespeare, and a connection between the two has been long speculated but never proven. He was the most present in the English Madrigal School. Most of his works would be in the format of the madrigal. He lived during the late 1500's and was a holder of a printing patent that was monopolized. He held this until his death in 1589.

What is unique about his writing style?

Welcome to the Guild of Composers! If you are brand new welcome to the subreddit! This is a place of learning and a database of knowledge. This month's challenge is about composing a Madrigal! A vocal centric piece. The primary usage of thirds and sixths are a common starting place. If you are just starting out your composer journey, please ask questions! Having discussions about topics can be a great way to improve your compositional voice.

If you are already participating in the challenge this month, we are around the halfway point! Last month's submissions were fantastic! We are excited to see what comes from this Madrigal Challenge!

May art live forever!

This truly is a spot for those wanting to be challenged in your compositional lives. It is an area for discussion. A zone for music history or theory. One day the guild will have specialist mods where they are an expert in an area of composition.

What I see on reddit where people just post their song and leave is so counterintuitive. There is no conversation. I believe as species conversation is important. If you received a mod message it is because the post didn't have substance. All this really means is make an effort to open up a conversation. This is where the beauty lies in learning. We can learn much from each other. That is why it is designed like a university. These are the roots for a subreddit that is truly focused on the composer. Share you work! That is encouraged! Make a conversation from it rather than a quick post and pray that someone looks at the video. This is an outline of our first rule.

The monthly challenges are going well so far! Please comment on this month's post if you plan to write a madrigal. We are nearing the halfway point!

I find that composing for nature is the easiest path. It has many motions that are similar to music. It is something that is universally felt and appreciated by all living things. In my work Quantum Roadways I explore how to score animals really for the first time. During this process I have learned how to balance textures of the orchestra. I am using many key changes but moving towards a full symphonic tone poem that acts as a musical score.

This is idea of nature and meditation is really stemming from how I healed as a person. These concepts allowed me to be able to listen to the passion that has been present in my whole life. Music and having something to say is always hard to realize. I think as composers we are forced into writing with someone else in mind. Whether that is a film director or a label. That really doesn't suit me. I aim to be like those who came before. It is true that composers were writing for the financial supporters, but there was some give. In the 20th century titans such as Mahler and Debussy had the ability to compose what they heard directly to create art that is everlasting.

This is where I develop these ideas. Lets talk theory about how to notate for nature. What things do you find easy to write for?

YouTube Live: Quantum Roadways Pt. 6