i know this isn't a piano piece but i would still love to hear what you all think of it. thank you please enjoy.
Yes, i don't know how to. I finished the first page, and i searched in every single config, but i didn't find. Please help me.
What groups here in MuseScore does violin/drums feedback? Still getting used to the website, hahaha
I was wondering if you could help out with this book.. thank you
And give feedback.
And become a follower.
And join Jazz Genius.
And check out the rest of my scores.
I love you,
Your best friend,
Have a great day,
Don't worry about me.
I'll be fine.
Good day, I am honestly new in the musical composition, in fact I have been playing the piano for a short time, but I would like to know what you think about my work, Thanks.
REEEEEEEEEEEEEEEEEEEEForgot the original tune that I would have wanted...
This is why we need score creation on Musescore mobile.
I wrote this throughout the last couple of days and I'm pretty proud of what I created. This is the first movement of a romantic era style Sonata that I started to compose. i would be very intrigued to receive a bit of feedback on my work :)
Hello! I am currently working on a piece that uses the Double Harmonic Major A LOT, but I can't find any progressions that convey what I'm going for, anyone know any good progressions?
This piece is on it's way and will be up before the end of April.
I have always wanted to compose a Theme and Variations. I got the idea yesterday of taking a Mozart theme and varying it. Now I have gotten even more specific. Even though the Turkish March is not my favorite Mozart piece(his 40th symphony is my favorite or if talking specifically piano works, the K 545 is my favorite), it does have what I think is an excellent theme to develop into a theme and variations. That is the beginning A minor section in ABA' form.
There are multiple reasons that I think this is a great theme to develop into a theme and variations but perhaps the strongest reason of all is that Mozart does not even touch that theme when it comes to development, he only develops the A major and F# minor sections of the rondo. The repeat of the A minor theme is a pure repeat, no note changes at all.
Since Mozart does not develop this beginning theme, that means I can do whatever I want with it in terms of development. I could have a variation where it goes from a March rhythm to a Waltz rhythm and the time signature changes respectively. I could have it modulate to another key like say Bb major via a pivot chord. I could do anything to it. Thing is, well, variations tend to build on each other so the second variation will often be more intense than the first variation and so on as you get more and more variations.
This is what makes Theme and Variations harder than it seems. With each progressing variation it tends to get more intense but you somehow have to have a satisfactory ending to it and not leave the listener hanging on a fleeting cadence. I was wondering if you had any ideas on how to vary the A minor theme of Mozart's Turkish March(bars 1-25 of the piece).
I have been told to find a skeleton form of the theme and use that to get sister variations of Mozart's theme rather than just its progeny but how would I decide which notes to put into the skeleton?
Hello everybody, any idea to improve that? (in part of tempo and nuances) https://musescore.com/user/14370651/scores/5490378
Thank you !
How many of you play the piano?
I just finished this today. I'm really stoked to see what everyone thinks. Like always, Feedback is appreciated, and criticism is encouraged. Thank you.
I composed a Turkish March months ago. It was my first go at rondo form and is one of very few pieces that I have written in the key of C major. C major is like my avoid key. If there is 1 key I would use least often, it is C major. Here are the reasons why:
C major sounds boring to me
Can't really get chromatic without questioning myself whether or not I am modulating(like the moment I write a Bb in a C major piece, I question myself if I am modulating to F major or not)
C major to me, is an overused key(seriously, the most common key in pretty much every music genre and from every composer from Bach to Mozart to Brahms, is C major)
So here is how I went about composing my Turkish March:
First I listened to Mozart's Turkish March from Piano Sonata no. 11 in A and Beethoven's Turkish March from The Ruins of Athens and found these similarities:
Basic eighth note pulse at quarter note = 110 BPM
Minor key used for harmony, drama, or both(mostly harmony in Mozart's case(the alternation of A minor with A major shows up in every movement of his 11th piano sonata))
Left hand sort of sounds like footsteps
I then took these and applied them to each of the sections of my Turkish March. I do use a plagal cadence early on but that is because I wanted to not have a sense of finality while still saving the dominant tendency for the PAC in the A section. Speaking of which, here are the sections:
A - Initial C major section
B - F major section
C - Up and down the major scale in the right hand, arpeggios in the left hand
D - A minor section
E - C minor section
Like Mozart's Turkish March, I also have a short coda to end the Turkish March. Here I experimented with using the major seventh as a dominant chord and I think it turned out well. I tended to use the subdominant chord to end the antecedent phrase of my periods here. I also only used C harmonic minor to transition from the E section to the C section. Overall, my harmonic progression in a lot of the sections was this:
I IV I V I
I even accented the subdominant chord in the initial C major section to give it more of a dominant feel, even though it is the subdominant. Here is a link to my Turkish March video:
Here is Mozart's Rondo Alla Turka for a comparison:
It is much faster than my Turkish March but other than the tempo and keys used and the actual melody, not much is different(5 or more distinct sections of the rondo, a section with arpeggios in the left hand and octaves in the right hand, coda for an ending with arpeggios in the right hand, both parallel and relative minor keys are used, bass notes not far from the third intervals(at most like a fifth away), octave alberti bass in the right hand in ending bars, are all commonalities between my Turkish March and Mozart's Turkish March)
What do you think of my Turkish March? Do you think I may have overused the subdominant here? I have been told that it sounds more like a gentle dance than a march but I don't know of any dance that is in 2/4 and I'm not even sure that it exists. I have also been told that there being so many thirds in the left hand muddies the piece and that it would be better if the bass note was like an octave away from where it is now.
Is there any fun BSA tunes I should do?
Take Me Home, Country Roads
Rocky Mountain High
Mother Nature's Son (Remastered)
Grandma's Feather Bed
The Eagle and The Hawk
Wild Montana Skies
Wild Flowers in a Mason Jar
Sunshine On My Shoulders
Eagles and Horses
The Harder They Fall
The Cowboy and the Lady
Pickin' The Sun Down
Downhill Stuff (Remastered)
Around and Around
Some Days Are Diamonds (Some Days Are Stone)
I Guess He'd Rather Be in Colorado
For Baby (For Bobbie)
Looking For Space
I Want to Live
Catch Another Butterfly
High, Wide, and Handsome
Starwood in Aspen
It Amazes Me
Fire and Rain
Let It Be
This Old Guitar
Cool an' Green an' Shady
Wrangle Mountain Song
Johnny B. Good (Remastered)
Alaska and Me
On the Wings of an Eagle
Dance Little Jean
Nobody Can Take My Dreams From Me
The Gold and Beyond
On the Atchison, Topeka and the Santa Fe
Leaving On A Jet Plane
On The Road
Thank God I'm a Country Boy
It's Up To You
Late Nite Radio
Love is Everywhere
Earth Day Every Day
Never a Doubt
The Flower That Shattered The Stone
The Ballad of St. Anne's Reel
Come and Let Me Look Into Your Eyes
and much, MUCH more. XD
For those who were interested, I have finally completed it! Comments are welcomed.