I decided to write a piece with 3 completely random songs to challenge myself. I believe it will help me in the future when I write professionally and need to transition between movements.
Please critique this piece! Or at least some feedback (thoughts, opinions, requests) would be nice.
If you stick around for updates, expect a big run after where Moonlight Sonata left off. It will help to transition back into Hymn of Acxiom.
- The harp part is a sound effect, not an actual part to be played
- All diddled phrases are to be played as normal rolls
- I will update sticking soon
- This piece will eventually come full circle and will end with the ending of the first unoriginal piece
- I changed all the settings so the sheet music would look as close to Sibelius as possible, but they don't go through well online
- I used two soundfonts
- Hymn to Acxiom
- La Marseillaise (French National Anthem, only minor section)
- The second half of Beethoven's Moonlight Sonata mvmt. 3
As always please add feedback. Feel free to check out anything else on my profile as well. If you interact with me I will surely check you out also :).
Say any thing u want
Mine is either the Bari or the Alto saxophone. :)
A fun duet for a cello and a violin!
Hi, please recommend a song for me to arrange a cool version for any type of saxophone. It can be any genre! I am hoping to put out a new piece every few weeks or so. I can also do piano or a sax/piano duet :)
I wrote this a few days ago, and I would like to know opinions and suggestions. Lately I have had many results of this type, and I want to know what others think about.
I had inspiration from the "Andante Festivo" by J. Sibelius, who has always been one of the best, and my favorite.
The best audio version is here:
The score is here:
There's only 22 ohhh
Say YES or ME LIKE BACON, or anything that means yes if you do!
This is video of my composition.
Two violin soloists, string orchestra, basso continuo.
Recording in Baroque tuning.
Thank you so much!
Imagine if you could save lyrics with midi export as 2 options: "KAR file (MIDI File with lyrics)" and "KAR file with chords"
This is a request that goes back to at least 2015 and I have formally requested this feature again (see https://musescore.org/en/node/290163 ) - to create KAR files, and kar files with chords. This would allow us to use a real Karaoke Player, such as the free van Basco player (http://www.vanbasco.com/karaokeplayer/ ) app for practice, performance, learning, teaching, etc. It's high time for this feature after 10 years.
Do you realize the numbers of school teachers, and church choir leaders would would find this useful for teaching, conducting parishioners, choruses etc.? And why not lyrics from several voices simultaneously? Why, people might even have FUN with these files (heaven forbid)!!
Do you realize how useful these files could be with karaoke software?! I am a programmer and I see the arguments as "beside-the-point" and not at all insurmountable. In fact, there may be no reason why more than one part's lyrics couldn't be saved and scrolled in a karaoke app in parallel.
Read my request where I address the programmer's objections. With all the lyric-typing I do I am disappointed/insulted that I can't export the lyrics with the midi. I have searched high and low and the closest software I can find to a solution is Serenade (http://www.1manband.nl/serenade/index.htm ) which is far from as perfect for this as MS would be. Please help promote the idea at (see https://musescore.org/en/node/290163 ) !!
100 Members! Woohoo! Now let's try and get to 200...
POST SOME MEMES YALL.
HERE COME DAT BOI!!!!!!!!!
who has the saxophone ensemble <4 pictures from New York>?thank u !
i really need it!
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This is a piece that I composed to sound pastoral(in other words, like the countryside). I used this sequence of modulations:
F major -> C major -> A minor -> Bb major -> C minor -> G minor -> Bb major -> F major
The first F major section is supposed to sound like the sun is rising. Then in the C major, A minor, and Bb major sections, it sounds relatively peaceful. But the Fate motive appearing in both the bassoon and the piano foreshadows the C minor section, and the last entry of the Fate motive being on a C minor chord makes it sound like I am directly borrowing from Beethoven's 5th. Once I get to the C minor section, there is a jolt, both in dynamics and in tempo. The tempo almost doubles and the dynamics become fortissimo. I also use a repeating progression twice in this section. Here it is:
i -> i6(first inversion tonic) -> i -> iv(with Ab in the melody giving a more dissonant tone) -> i -> i6 -> i -> vii°7 -> i
Now there were a lot of ways that I could have gone from C minor back to F major. Here are just a few:
- Circle of fifths, ending it on the subtonic dominant 7th in D minor
- Ending the progression at F minor and then going straight to F major via parallel modulation
- Ending the progression at C minor, then going to C major which leads to F major
- Ending the progression at B°7 and resolving it to C major, again leading to F major
I decided to start like the circle of fifths progression, going to G minor. From there I went to the mediant of G minor followed by a plagal motion to F major.
Once I got back to F major, I decided on having the flute play a melody to give us a sense that the drama of the C minor section is over. This melody, I accompanied in the bassoon. Later, when the melody comes back, I change the register to be down an octave and have it played by the bassoon. The flute harmonizes and embellishes it with a countermelody of its own. Towards the end, I have all 4 instruments playing simultaneously and there is a ritardando, going from the 120 BPM of the G minor and second Bb major sections to the 60 BPM at the end. In the third to last measure, the harp does a diatonic glissando. I intended for it to be diatonic to avoid much dissonance between the Bb major harmony and the glissando. In the measure after that the harp does a long trill and then it ends with arpeggios in the harp and block chords everywhere else. These last 3 measures are again fortissimo. But because there is no modulation or sudden tempo change, the fortissimo in those last 3 measures just sounds like a typical ending cadence and so even though mezzo forte and fortissimo have quite a noticeable difference in intensity and there is a busy texture in the mezzo forte before it, there isn't much of a noticeable dynamic jolt. The flute and bassoon move in contrary motion over the piano chords in the last 2 bars, both to an F but in different octaves.
I didn't compose this for your typical quartet. Instead I thought "Which instruments would go well with the countryside in terms of their sound?" Piano, Harp, and Flute were obvious ones. To help balance the woodwinds against the piano and harp, I decided on having a second woodwind instrument. I didn't go with the Oboe because it sounds pretty nasal in timbre compared to other woodwinds(would probably be a very good instrument though if I wanted to make a piece sound Scottish). Another instrument that I could have used is the Clarinet(which in the case of this piece would be a Bb clarinet). It sounds mellow like the flute. But I figured that I didn't need a more mellow sound, I needed some warmth to the sound. And I knew just which woodwind instrument would provide a warm quality to the piece. That would be the Bassoon, which is comparable to the cello because of its wide pitch range and warm tone.
What do you think of it? Here is the link:
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the new edition