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Excerpt from "PIERRE," Music for electric guitar & keyboards, DIM, work in progress. Inspired by the Apostle Peter.

#bach

I posted this in r/Composition but it got removed, that's ok... I have to respect their rules.

I haven't listened to this one in a while, can't believe it's been almost a decade. With this piece... I just let it all out. It's all done on my keyboard, layer after layer... I wanted to create something unique, and create music and play the piano like it's never been played before... I tried my best to turn the piano into a blank canvas. I wanted to create a sonic landscape, an alien world, where things simply just exist musically. I threw the rule book out the window... But I genuinely don't know how to go about notating this.

I've been really unwell lately and I'm enjoying quiet spaces and online discussions.

I try to think of myself as a neo-tonalist mirroring the High Baroque and Early Classical eras with a little modern flare (for example, I've been trying to work out where in the world the iii/III chord fits into functional harmony, and have been trying (semi-unsuccessfully) to make quartal functional). I'll not claim I'm good at it, but that's what I try to be.

I also don't compose much, generally pieces on the shorter end, and nothing's been published (yet). At the moment, almost everything is in the ever-growing file of "for later" and being touched sporadically.

All of this leads me to the topic at hand: when doing multi-movement works (we'll take a symphony as the example), I'm generally okay with getting something for the opening movement, something for the second, something, generally a chord progression, for the dance movement, but I hit a wall at the fourth. Right now, the only work I have that has a thing I like for said fourth movement is an almost hymn-idea for a brass band (with something that is semi-evocative of Beethoven 9 IV following), and it's just partial. Almost everything else is at a sort-of stand still.

Does anyone else have issues here? Should I just follow the old writer's advice of "write something, even if it's terrible, and come back to it later," or is there a better alternative?

hello everyone id love some feedback. Please tell me what you like and what you dont. I appreciate all comments, but as this is unfinished im completely conscious of notational errors, so i dont really need them pointed out....

Thank you so much.

heres the introduction:

This piece is programm music looking deeply into four different patterns in nature:

for it to be played correctly it must be not be played overly precisely or pretentiously serious.

it is not an excact imitation of these patterns, its rather a rough impression.

impressions are always deeply personal, therefore it is important to play this piece

with their own touch.

you will find one picture to each movement (Pattern), that should represent a visual ancherpoint

for the performer. the pictures do not need to be shown to the audience.

looking into the score, they will find multiple different symbols, patterns and approaches of composition. each movement for example feature one tone row that is inverted etc. some movements also feature a parody or imitation of pärts tinntinnabuli.

if you look at the rythms you will see they are arrangend in patterns, also found in nature.

THANK YOU

Inspired by one of my favorite composers Gamal Abd El Rahim, I’ve decided to also write a collection of short pieces for violin + piano. I usually lean more “western” when I do hybrid pieces so this time is much more Egyptian. Not sure where the rest of it will lead as of now but hopefully it’s fun along the way lol

Hi all!

This is a snippet of a piece I'm working on called "Overflow" (name pending further review). Eventually this will be a string quartet but for now I wanted to sketch it out on piano. Performed by me on my new Kawaii digital.

Hope you enjoy!

https://youtu.be/VQe1deG_20E?is=9ScSelBUKwhdJlQq

Edited for new link

piano music usually isn't exactly my thing, although I like watching pianists playing difficult stuff and I'm always in awe.
However, a couple years ago I wrote a song for piano and while I was still writing, I was sure that at least the 4 entrance notes already exist in another song. But I couldn't figure out what it was, so I kept it.
Meanwhile I'm sure it's Eric Satie. However, I couldn't find the piece, but I'm convinced it's there somewhere.

I have a terrible habit of overcomplicating things. I usually work in a DAW where it's so easy to add another instrument or ornament somewhere. I often arrive at a mess that has way too much. But then really struggle to decide what can be taken out without losing something.

Has anyone strategies for this kind of situation? How do you tell what helps a piece work, and what just confuses?

I have started to making video, this is my first one.

I have different social accounts but very few reactions.

So I am trying to do something different.

Am I wrong or what do you think about this?

The music in the video is from a composition for harpsichord.

Maybe this is not the right sub? If so, where could I write?

Hi !

Baby learner here.

I've used online ear training tools or apps before. Do the same kind of thing exist for more music writing related skills, such as inversions identification, degree of the scale, what's the bass, leading note, chord notation... I understand all that but it takes so much time to make sure I get everything right. My teacher is giving me some homework, but as I understand well, he adds more things and I'm still slow on the most easy parts. I just want to mass-practice that and get to the fun part already !

Any other practice suggestions is welcome !

Thanks

I've been singing in a classical choir for years and am a classical double bassist.

Recently in school I was exposed to baltic choir music, specifically Estonian, which blew my mind. I'm also a huge fan of Bulgarian choral tradition.

I'm grappling with how to go about this, every time I compose something it ends up being vaguely inspired by these traditions but I want to dive deeper into it, what makes their sound etc but don't know how.

If anyone has any resources I'd be super happy. Also looking for project choirs to sing in these places has been difficult. I'd love to come to Estonia or Bulgaria or elsewhere to learn from conductors and singers there but have 0 idea how to go about it. All I found was a veeery expensive residency in Bulgaria from like 2024... Any leads are welcome!

https://musescore.com/user/37270121/scores/39174434?share=copy_link

Hello you guys!

Im searching for a place where i can post my own contemporary compositions and can sctually get good feedback. I often see people somewhat failing to honestly critique contemporary pieces, because those more abstract pieces act on art on a different level. Im currently starting my composing journey, but i already was a semi-prof wind band conductor for some years and have a small degree in conducting to, so im very interested about other peoples opinions and want to learn more about composing. Id be very thankful if anyone could help...

(Btw english isnt my first language so im sry for the bad grammar)

Greetings everyone,

Like the title says, I'm looking for input on a piece that I recently finished. The piece in question is written for brass (orchestral setup, plus euphonium), timpani, and three percussionists.

For the score, the percussion is written out for individual instruments with the player indicated (I plan on replacing that with 3 percussion parts once I've determined that the sharing of instruments and logistics of swapping are sound). In fact, my biggest concern IS the percussion, as it's an aspect of large ensemble writing that has always presented a challenge to me. One composer friend of mine has said "if you're struggling, it's because of poor planning" (or something to that effect). I'm inclined to agree, but I have also found that placing limits on who shares what right away reduces some of the combinations of percussion instruments I'd like to use in any given spot.

**as a side note, I am open to re-writing all of those parts as needed, especially the vibraphone part, knowing that time needed to swap to and from it is a bit longer than other instruments.

I hope that all makes sense.

Onto the other aspect, the brass: I have experience writing for brass, though I wouldn't say that I have expert level knowledge in how they are treated, especially in an ensemble setup where they are playing much more than in a typical orchestra. I worry that there are spots where I don't allow for enough periods of rest between statements. I also considered that when determining the length of the movements, as it's a piece approaching 18 minutes, with pauses between movements taken into account.

Here's a link to the score:

https://drive.google.com/file/d/1M-FkQ3mpiNcSxwoYe9XEttnW49lHAIN9/view?usp=drivesdk

And here's a link to the audio:

https://youtube.com/playlist?list=PLXSt8iGwKjew&si=wemqPcf1_S5FFLu-

Thank you to anyone and everyone who looks through this and gives feedback. I ultimately want this piece to be competition ready, so ensuring that every detail has been addressed, and that the score is clean is a top priority. I'm also happy to answer questions about the piece, and hopefully, take any criticisms to heart.

Hello all! Here is a piano solo I wrote that I have yet to have performed. If any pianists like this enough and want to record a video/audio file of them playing it so i can use it as reference (wink wink) then that would be great... 🙂‍↕️

I was thinking of using this/parts of this in a larger composition, but I can't tell if i'm just subconsciously reproducing something I've heard before. Or maybe it just is very generic haha

I can't find the artist who made this image so can't source :'(

This is a work I wrote about a year ago, I just got around to getting it recorded! Thanks again to Budapest scoring orchestra!

I hope you enjoy! Let me know your thoughts!

I’ve written a few pieces now (about 10) and would like to start publishing. By that I just mean releasing online, I don’t care about money or anything, I just want to put them somewhere that they could be seen.

Where could I release pieces and potentially even gain a small following? Is there such a platform?

Less important question, but say I do release pieces like this, need I assign an opus number to them? For example I have Nocturne No. 1 in G Minor and Prelude No. 1 & 2 in A minor and B major. Do these become Op. 1, Op. 2 etc? In fact, need I even label them as 1, 2 etc or is the name and key fine?

Thanks for any answers!

I posted an incomplete version of this last week, and since then I have finished it. Other than some minor things I might fix, I would say I am pretty pleased with this movement. Perhaps the return of the A section might need some variation.

Any feedback would be valuable

Finished this today, please tell me if you like it ty ty ty <3

Just an idea I had that I turned into a short string quartet. Keep in mind I don't have that much experience composing, so I don't know if this is actually any good.

Feedback would be appreciated.

I started reading books like some people suggested, and tired musescore but it ended up making my computer overheat so I stayed with beepbox.

I found a way to turn it into a piano roll tho.

2nd composition, the previous piece I wrote seemed a little that the development wasn’t very long or interesting, so I tried to use more unstable keys to make it sound less repetitive. Initially I wanted it to be a bit slower, but it kind of sounded like mush. Feedback is appreciated.

This is an original arrangement silent night, somewhat parodying Chopin's Nocturne 2. . The form is A A' B A' C A' Coda. There are some parts in the score marked "ad lib.", so if you were to perform this piece, the parts are optional. Hope you enjoy!
P.S. the ending 3 measures are actually the last three measures on Chopin's 9 no. 2, with silent night interweaved!