still, a work in progress need feedback and a name for the piece I'm open to ideas I'm not going to get offended if you say it's not that good
In addition to MDL, I think many could agree that MuseScore also needs MFE (MuseScore Front Ensemble), to work in conjuction with MFE as a soundfont. I understand it is hard to get nice sounds on an open-source software, but it would be nice to have. Here are suggestions for the soundfont in mind:
- Marimba (with 3 hardnesses); the marimba sounds a little bit like a toy xylophone with a deeper voice. It doesn't sound very rich.
- Vibraphone (with 3 hardnesses); the vibes don't exactly sound metallic enough
- Xylophone (with 2/3 hardnesses)
- Glockenspiel (with 2 hardnesses)
- Chimes/Tubular bells (with 2 hardnesses); the chime sound isn't round enough and is a bit abrasive in timbre
- Gong (PLEASE)
- Suspended/China cymbals with pre-recorded rolls and hits on different sizes (similar to what VDL does)
And as well, a nice function that could be EXTREMELY useful is the ability to upload samples into a score by mp3 or wav.
I have finished a composition that I plan to hand to the Academy Flute Choir, however I would appreciate any feedback on it before I do so,
i've been meaning to ask this for a while, but what is patrick doing in the group icon?
If you listen to this score it will be stuck in your head for the rest of the week
and probably fill you w/ memories from your childhood
I know I do.
If you haven't seen it yet, here is the link to my flute sonata:
I nicknamed it The Haydn Sonata because I am trying to get across a Haydnesque feel to it. I have noticed these things predominant in each composer of the Classical Period Trifecta:
- Haydn: Humor, melodic and harmonic surprises
- Mozart: Alberti bass, effortless grace
- Beethoven: Sheer power, even when the melody is more lyrical
Haydn is the one who inspired me to write this flute sonata. I wrote the sonata exposition in just an hour and this is the first sonata for a duet that actually has a finished exposition.
There are quite a few surprises in my sonata exposition. Here they are:
Bar 5: Sudden entry of the flute and absence of the piano
Bar 6: Sudden reentry of the piano
Bar 10: Short diminuendo, like the theme isn't quite done yet
Bar 11: Short staccato variant of the theme over a syncopated bass
Bar 14: Sudden forte cadence, theme is now finished
Bar 15: Piano dynamic in transition material right after a cadence at forte, sudden absence of the flute
Bar 21: Forte dynamic when transition material is taken up an octave, flute comes back
Bar 26: Piano dynamic yet again, descending trill motive
Bar 41: Very busy texture as the repeat comes closer
Bar 47: Sudden change in texture, sudden dynamic change as it repeats
I'm wondering, is my sonata exposition Haydnesque in its nature? I tried to get a Haydnesque feel to it by being more humorous than serious with the music. Anything impossible for the flutist? Does it feel like a Molto Allegro to you(tempo is at quarter note = 140 BPM)? Or should I just take the Molto off and just have Allegro as my tempo marking?
Mine is my rondo for a sonata collab
I have been composing a polonaise in Bb for the past few days. The A section of the polonaise is what I have written down. The A section of the A section is what my first few questions are about and is the exclusively diatonic section. The B section of the A section is more chromatic. I am asking these questions because they came up to me after listening to my own polonaise a few times.
1) Is the bass in the A section of the A section(bars 1-8 and 23-30) too dense?
2) In the consequent phrase(bars 5-8), is the bass too close to the melody? Should I bring it down an octave?
3) In the B section of the A section(bars 9-22), am I handling my chromaticism correctly or not?
4) Is it too much of me to expect a pianist to play a polonaise rhythm in octaves for the whole B section of the A section?
5) Do I smoothly transition into the inversion(left hand becomes right hand kind of inversion) or not?
6) Is my A section too repetitive with 2 periods and a motive sandwiched between the 2 periods and the repeat sign?
7) Is 30 bars enough for the A section of a piece that I expect to be 200 or so bars long, or should I extend my A section further?
Here is the link to my polonaise score:
How else do you think it could be improved? Right now, I'm thinking of what to put in the B section of my polonaise.
Under The Sky....