I basicaly played arrounud with scales, major and minor and chords, very basic stuff but it sounds pretty to me! Realy want feedback on the progression!
Here we go:
So I only have a few measures of a first movement but I hope to expand this into a full 4 movement string quartet. Thing is, I find it hard to get the combination of being in sonata form and still being interesting when it gets past duets into trios and quartets. I know it should be easier because I have more freedom with a string quartet than with a piano sonata but no, I have always found piano sonatas easier to compose.
Here is my first draft. You can see that I go from a Tutti to the cello playing solo which really brings out the warm sound of the cello. I plan on having the other instruments come back one by one until I reach Tutti again. So here is the link:
I composed this today inspired in the canon in D major, its not finished yet but I need some feedback for it.
I am working on a Nocturne as you probably know from my previous post here. Well, I have the first theme melody and bass down but I have no idea where to have the pedal marked except at the ending measure where it is all tonic harmony.
Here is the link to my nocturne:
So you know how I composed a nocturne before? It's now on my YouTube channel if you want to check it out. Here is the link to my previous nocturne if you want to listen to it:
But I am planning on composing a second nocturne and uploading it here. I know that it has to be evocative of the night but is there anything else I need to take into consideration when writing a nocturne?
This was controversial among my musician friends one said the harmony is too dissonant but another said it sounds fine. What are your thoughts?
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So my waltz is in D major and the first phrase group, which is a period structure, has a melody ending on F# and harmonically, it ends on first inversion tonic. Both of these lead towards a modulation happening. I could modulate directly to 3 keys using this F# as a pivot note. I could also indirectly modulate to yet another key this way. F# to E minor I don't really view as a possibility even though that is technically possible. In the same way, the diminished chord doesn't lend itself to being modulated to. So this leaves me with 4 possibilities as to what to do with the F#. Here are the direct modulations:
F# -> F# minor
F# -> G major
F# -> B minor
And here is the indirect modulation:
F# -> F# minor -> A major
G major is so typical to modulate to using an F#. F# minor though is the mediant of D major and the mediant is not often modulated to. B minor is the relative minor and a relative modulation is common but not via the third of the original tonic becoming the fifth of the new tonic explicitly written out in the melody and harmony. A major is a typical key to modulate to from D major. But this involves first going to the mediant of D major which is also the relative minor of A major and then going to A major.
Which of these 4 keys do you think I should modulate to using the F# note in the melody?
Need feedback, particularly on Movement 3 (not complete, so if it feels cut off thats why), which starts at m. 126 (about 5 min and 20 seconds in)
So here is what I have of the impromptu so far. I know, it is just 10 measures, but I don't know what to write after those 10 measures. I do know however that I want the next part to accelerate from the slow Allegro of the introduction to a Presto tempo for the A section.
I made this waltz in c# minor, need some feedback of how it sounds, I called it Waltz of the 13 days because it waas composed in 13 days, hope you like it.
Prelude in B-flat minor out now! (Moonlight Amid The Ripples)
I'm happy to let you know that I'm going to be more active and refrain from going on another really long hiatus. After I uploaded another piece in December last year, I disappeared for a month, which I'm still upset at myself about.
And with that, herewith my piece:
Hello, I am very new to using muse score. ( I've had it for about a week) I am writing my past high school's drumline a cadence and want it to be just a bass drum cadence. I figured it might be a little odd to have a bass drum cadence but have huge rests on the snare, tenor, and cymbal lines. Anyways, my question is, how do I delete instrument lines that I am not using?
Have any of you seen the movie "Hachi: A Dog's tale"?
Well, I've taken the liberty to transcribe (or do the best I could) the main theme called "Goodbye". The movie is very emotional and part of that is because of the music, composed by Jan A.P Kaczmarek.
I could not find any sheet music (besides some for piano, which was sort of inaccurate anyway) so I decided to transcribe it myself.
I'd love feedback though! Thanks in advance!
Here it is:
I've been gone for a little over a month this time, and I would like to make it up to you with this string duet. Criticism is graciously accepted, as composing for strings is my weak point.
Enjoy (if you can)!
I'm getting rid of this compositional idea, but I hope that someone else can use it or be inspired by it.
If you've got a spare minute, please take a look:
This and other dances in general I have kind of been avoiding for the first 10 years that I composed. But I figured that if I am going to start composing dance music, waltzes would be great to start. I decided on a tempo of 90 BPM, so like Andante Moderato in the Italian terminology, to make it not so difficult for people to play once it is finished. I also decided on a key of D major because I compose a lot of my pieces in flat keys so I figured I should balance it out with some sharp keys.
I know these things about a waltz that apply more or less specifically to a waltz:
Most have a 3/4 time signature(though some have a 3/8 time signature and others are at 6/8)
Most are at a moderate speed
Left hand pattern is usually 1 bass note followed by the chord the bass note is in
A lot involve pedaling, though not all do
Waltz is dominated by melody
But I still find writing dance music to be hard, even though it is a shorter length composition than a sonata. Minuets are the hardest for me so far(I tried writing a minuet before and it didn't turn out well). My phrases and melodies in general also tend to be on the long side. So I might end up with a 10 minute waltz instead of a 5 minute waltz.
This is my first chamber piece. Though it is an early project, it is an ambitious one. Celebrating the centenary of WW1, piece seeks to pay tribute to those who have fallen of The Great War. Any feedback would me much appreciated!