This is my first time trying to compose for a full wind ensemble. (I've made chamber groups arrangements only so far) so I'd really appreciate some feedback on this tune so far and tips on composing. Thank you!
Print (no odd notation glitches
Thanks to all the new members for joining our banana party. There seem to be quite a few 'banana' composers here at musescore, whether ithe music is about the fruit banana or banana fish or banana fairies or whatever or if the music is just plain banana silly. Post your music, tell your friends. I even heard that some higher up in the government was thinking of joining since they have lots of experience in being completely bananas.
Enjoy and let me know what you think!
note some important birthdays coming up. Send some flowers or candy.
June is a big birthday month!
June 6 Aram Khachaturian
June 8 Robert Schumann
June 9 Cole Porter, James Newton Howard
June 12 Richard Strauss
June 15 Edvard Grieg
June 17 Igor Stravinsky
june 18 Richard Rodgers
June 20 Jacques Offenbach
June 21 Lalo Schifrin
June 29 Bernard Hermann
Make sure you read the rules of this group and the mission!
I'm challenging all of you to do this with me, it can take as short as 15 minutes of your day to put something together, and trust me, it'll help you zero in on a method to your own composing that will help you down the road!
Hope y'all are having a great day!
I added a new score here!
It's inspired by renaissance music,
it might not by the most historicly accurate piece,(especially in the B section),
but give it a listen!
Hope you enjoy!
~feedback is more than welcome~ :D
There are days when I absolutely hate Musescore 3. Sure, it is nice that things get automatically spaced in the score so nothing overlaps, so wow gee wiz, uh, isn't that just how it should be? What I hate is that they seem to have gone out of their way to make things more difficult compared with Musescore 2. They seem to have randomly changed things that didn't need changing just to make it frustrating for the use. It used to be easy to change the volume of a single note or chord in a score. But now, once I finally figure out how to do it, Musescore manages to hide it from me so then I have to start all over trying to find out how to do it again. Why!!!? It used to be easy to see the note in inspector and then modify the volume, but now, where the blazing biscuits is it?? And why is it impossible to find in the manual? Ultimately, there is no advantage to Musescore 3 other than the spacing thing. So, I should do everything in Musescore 2 and then when it is ready to be put online, open it with Musescore 3. Just be sure to give it a different name because once you open it in Musescore 3, they won't let you go back to Musescore 2. Oh, no. Why would they make it **&&**& easy?!!!!! And I paid good money for this kind of frustration????????!
As per request, here is the Wikifonia.org archive. There are over 6,500 leadsheets here that need liberating! This has been approved by the MuseScore team, and post your scores here when ready!
Write a song about a lonely tarantula that lives in a banana bunch.
The grand price is a vierual bunch of ripe bananas. Now, for a limited time, as a added amazing bonus, a free virtual tarantula. No, I'm lying. Must be the toxin from the tarantula bite that's affecting me. Dizzy dizzy it's all going dark.
Please check out my new score. It was just a bit of silliness that I wrote. I hope you enjoy! https://musescore.com/user/30771082/scores/5691515
Nice to find this group!
I made two contributions. One is a transcription of a XIV Century piece, the other is a composition by myself imitating the old styles, with many licenses.
Hope there will be many more contributions to this group!
Link to the Full Score: https://musescore.com/themtcrew/scores/5217400
Hello! Mark and I have finalized the brass parts for the ballad of our original show, 2 + 2 = 5. The ballad we've chosen is The Hymn of Acxiom by Vienna Teng, as we believe it fits the theme of the show - George Orwell's "1984" - perfectly.
If you are unfamiliar with the project, here is a quick summary:
Mark and I plan to have as many of you submit recordings of yourselves playing through the show as we can. We will then compile the recordings into one large file, and place it over virtual drill that Mark is writing, to create a virtual drum corps of sorts. If you'd like to record, here's all the info you'll need!
You can play through as many parts as you'd like. In fact, we would much appreciate it if you did! (For example, if you play the trumpet, it will be better for the end result if you record and submit all three trumpet parts, rather than just doing one) Of course, you don't have to do this! Mark and I will be listening through each recording of the trumpet soloist's part, and picking the one we think would best benefit the overall recording.
We would prefer if you submit one large (3-ish minute) recording, but if you find it difficult to play through the part(s) in one sitting, please refer to the recording guide below!
Here is the link to all the parts: https://drive.google.com/drive/folders/1CTplR1RBHZX2YCJZ80M35VF20sjaPI9u?usp=sharing
3.) Recording Guide
Recording One: Beginning to Letter D
Recording Two: Letter D to Letter F (Trumpets, include two measure pick-up)
Recording Three: Letter F to Letter I
Recording Four: Letter I to the end
Again, we'd much prefer your recording be from the beginning to the end, to simplify our own work, but we decided to include this in case some need the breaks in between. Trumpets obviously don't need a recording one/four, as they don't play at these points. Please play the part at the exact tempo that's listed. This can easily be done by playing along with the recording (preferably while wearing a headset!).
If you have recorded the entirety of the ballad at once, submit an MP3/MP4 file with this name as the format:
If you used the segmented guide above, use this format:
Send submissions to email@example.com.
If you have any questions, ask them below! Thanks everyone!
*DISCLAIMER* Absolutely no profit is being made off of this project in ANY way. All rights to the music used go to their respective owners.
Hey, I am currently super busy!! Before I start, I'll lay out what my week tends to be:
Monday: Double/triple up on schoolwork. Once a month is nursing home music night (which I can't miss, considering I'm the pianist)
Tuesday: Currently I'm going to my aunt's. Soon will be Piano & Choir (if I go, which I am leaning more towards not going)
Wednesday: Work in the morning, Omnibus in the afternoon, Skating at 3pm, and will be home only for supper
Thursday: I go to my aunt's all day.
Friday: School (double/triple up as needed), Youth in evening.
Saturday: House cleaning
Sunday: Depending on which Sunday is: play piano for both services, nursing home services (I can't miss, I'm the pianist), go to my grandparents for lunch, have company over.
My problem I'm almost too busy for myself to do school.
How do you guys live with being super busy and having heavy schoolwork to do!?!?!?!?
I need advice!!!!!!!!!!
Please message me or comment what tends to work for you.
P.S. with the nursing home service/music night, that are highlights of my month!!!!!! and I can't quit now, consider i leave without them having any accompainment, 'cept a clarinet.
Going to try and be analytical but brief about this work, which in my opinion is of the highest quality Buxtehude ever wrote:
The piece begins with the Passacagila of F - A - E - F - C - D - C, where the the counterpoint begins on the off beat of the first bar and F, in sectional chords almost exactly like Johann Sebastian Bach's own Passacagila, except he states the subject initially in the pedal - and of course this work was a inspiration for him and he most likely heard it during his visit to Buxtehude - story for another time.
The initial section is in the home key of D Minor, which of course leads to the dominant of A in the second, where several motifs from section 1 are developed, culminating into a almost robotic repeat of the passacagila in block chords over the pedal, which is soon interrupted by - and quite frequent in Buxtehude's works free from counterpoint.
This counterpoint builds to a section of repeated chords below off beat quavers in a broken arpeggiated rhythm that leads to a deceptive cadence, which after a short intermission is resolved and the final section begins.
The final section mostly consists of alternations between triplets initially and a chord progression of a third, to second, to third from the supertonic to tonic, repeating higher and higher in octaves until a final downwards flare of 16th notes leads to the final chord cadence.
Overall the piece starts of which specific rhythms which are very carefully and masterfully manipulated in ways beyond my comprehension, but it has proved to be his best known work and one of the best regarded in the entire baroque era in it's own right, and that speaks for itself.
A deceptively simple but ingenious composition in 2 distinct parts, with a coda. The first is very dance-like and free and in D Major has a very beautiful feel to the music. The second part maintains a similar character, yet utilizes more staccato notes and leaps to create a sort of bouncy rhythm - and finally the coda is a short Allegro - Adagio section which is a combination of the first and second sections of dance rhythms and staccato.
A Prelude for Organ in G Minor, with a ostinato pedal over brilliant counterpoint above, reminiscent of his Passacagila, leading into my favorite fugue he composed - then a brief Allegro section with very quirky yet rhythmic patterns, into a final brilliant fugue.
Then ending with a coda in which the performer interprets the ending chord as one giant appoggiatura, which I love.