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 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.
Hello world, im new to music composing, From HK.
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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?
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'm a piano player arranging for strings!I have a question: If I have the 1st Violins play div., and i want both voices to play legato and staccato, do I need to put staccato dots/legato lines over both voices or only one?
Hi there. This is my first discussion here but it’s a game. If you know the rules of word chain then great, but I’ll explain for the others. If I said “hello” then you would have to say something beginning with O
No made up words
Only one word
I just added 5 scores in this group, please let me know if you like it or not.
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Please check out my new piece for solo piano ( Rondo Comique):
FEEDBACK IS MORE THAN WELCOME AND MUCH APPRECIATED!
I would like to take some stories and turn them in to music. A great example of this is Peter and the Wolf composed by Prokofiev.
If you have any short stories you have written or read comment them and i might make it into a piece of music.
When i grow up i would like to write music scores for movies. I have watched a few videos on how John Williams has scored some movies using different themes and motifs and instruments for each character. Please leave your suggestions
Arranged from Debussy's Children's Corner: The Snow is Dancing, composed for piano, to be played in a string trio comprised of two violins and a cello. https://musescore.com/user/33097745/scores/5725409
What are your guys' feelings towards it?
Hi there! I have yet another piece I'm looking for feedback on (again, preferably constructive criticism, but hey). Please comment on the piece itself preferably, but idc if you post here either.
Comments welcome.... A piece for String Quartet... plus I have a number of new pieces with some strings... (Lauda Anima Mea Dominum)
Hi all, there used to be a flute piece titled "end credits", but it was taken down when the user's account got suspended. Does anyone else know what piece I'm referencing, and can anyone remake it? (I'm not too good in the composing area).
I’ve had lots of people comment this my composition has very difficult chords for the instruments, and that the slurring is decent, but could be improved. Could you give me advice on what to change and what to keep?
Thanks in advance.