How do you get 13 violinists in tune? Shoot 12.
How do you get 13 violists in tune? Shoot 13.
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?
I am arranging Beethoven's Moonlight Sonata for a string quartet. I might add a double bass if I think it is necessary, but so far, no issues with it being a quartet, at least not in the first and second movements. Now I'm arranging the Presto Agitato and as if it wasn't hard enough with the need to smoothly transition from the viola to the violin in those sixteenths, if I keep the interval relationship, the notes are going to be too high. I could get away with this octave displacement in the previous 2 movements(With the first movement, I basically did this octave displacement for the entire bass line to fit it into the cello), but now, the octaves the sixteenths are in are crucial to getting the right sound out of the Presto Agitato.
There are 2 things I can think of as to how to get the Presto Agitato to sound right, one of which keeps the instrumentation, and another of which keeps the original octaves.
Option 1: Add Double Bass
This would keep the original octaves, and I could have it play the bass line and have the sixteenths start in the cello and rise upwards to the viola and second violin.
Option 2: Move bass line to Viola for first measure of each arpeggio run
This would keep the instrumentation I have going of a string quartet and for everything except the bass line, the original octaves would be kept as well.
Which one of these 2 options do you think would be better? Any other suggestions?
NOTE: I'm only asking about the arpeggio runs, the scales and Alberti bass are easier to arrange.
I'm a beginner composer so don't go too hard on me, and feedback is very much appreciated
Hi. New to musescore and wanted to share good music/piece/or song ideas for composing. I'm a beginner, so I'm not very good. But I've always wanted to play Ms. Pac Man maze madness music on piano... as it's very catchy. Ha ha. If anyone wants to compose this soundtrack, I mean that'd be really neat. Also if you have any other ideas for composing music that you think should be on musescore, go ahead and comment. Thanks. Sorry if this discussion topic already exists. Link below for Ms. Pac man maze madness extended playlist on youtube. lol.
Just a while back I found about this game and its beautiful instrumental music. Check out my arrangement here ==>
I know I do.
I have a chair test two weeks from now (I'm forth chair btw) and I am wondering of there is any tips or tricks I need to now before taking the test.
-Edit: There is only one week left before the test.
Mine is my rondo for a sonata collab
can i please join i play saxophone
So I have been playing alto for almost two years and I started on the bari sax and I'm pretty good. But all my band music was thrown out for my alto sax(didn't play bari in my band) and I'm looking for songs to play and learn. I want to get better at Bari for the upcoming school year since thats why I'm playing the bari over the summer. Thanks! Hard, easy and in between songs are just fine :)
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.