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Orchestration / Re: What blends with Piano
« Last post by Medievalwarfare on Today at 10:03:00 AM »
Thank you for the input.
Orchestration / Re: What blends with Piano
« Last post by Michel.R.E on Today at 08:35:21 AM »
you want to create a "solo" piece for piano... so you're not looking for something that "blends" but something that will allow you to bring out the piano's unique sonority against whatever instrumental background you use.

Start with something simple. A string ensemble  for example (two 1st violins, two 2nd violins, one viola, one cello, and one contrabass).

It's important that you learn how to use each part of the orchestra efficiently and to its greatest effect.

Because of volume limitations inherent in the instrument itself, you would avoid placing a piano against a background of just brass... or you'd face having to always write soft brass, or loud piano, or just constantly contrasting the two without really ever bringing them together.

woodwinds are a good ensemble to accompany a piano. for example a quintet with piano, flute, oboe, clarinet, and bassoon, or a sextet with the same ensemble plus horn.

As such, to answer ONLY the question in your thread title: nothing actually "blends" with piano.
Orchestration / What blends with Piano
« Last post by Medievalwarfare on Today at 07:52:27 AM »
I want to create a piece with a piano being the solo instrument. What instruments blend well with a piano?
Completed Works: Junior / Re: Remember-Solo Bb Cornet
« Last post by gogreen on Today at 06:34:09 AM »
I also agree with Mark. The phrasing also didn't agree with me--for instance, the half note B in the seventh measure might be extended to two half notes to define the phrasing better. The next "phrase" appears to be nine measures long, which didn't work, to my ear. I think the music would be much better if it were in four- and eight-measure phrases. The high B could be a challenge to many players would might otherwise attempt this piece. I do think, though, that you captured the dignity and solemnity of "Taps." Adding appropriate dynamics would strengthen the piece and help with phrasing--for instance, adding a hairpin swell in measures 4-8, tapering the dynamic to piano at the end of the phrase.
Completed Works: Senior / Re: Reflexions album
« Last post by mjf1947 on Today at 04:48:02 AM »

Welcome to the forum.

It would be helpful for us ... to be of assistance  - for you - to choose 1 work for discussion. 

Please post the score for the work alongside the mp3 from your album.

In this fashion we can better understand your work and intent.

Thank you.

Completed Works: Senior / Reflexions album
« Last post by andreipoll on Today at 02:32:40 AM »
Hi all,

Nice to meet you - and this is my first post here, so I am really humbled.
I have recently completed a studio instrumental album called Reflexions, and wanted to discuss with you if yo find it appealing / interesting / some advises for the future development, feedback etc.

I guess it would be okay if I post the link to the album? If not, happy to do otherwise...
There we go

Best regards,
Works in Progress: Senior / Variations for Strings in A Minor
« Last post by whitebark on Yesterday at 09:29:25 PM »
Oops!  I didn't mean to post this in the senior section!

This set of variations began its life way back in the '90's, when capable score writing programs became available for commonly available personal computers. I had a burst of creativity at that time, and this piece was one of the results.  Oddly, it was originally written for woodwind quintet, but later it somehow evolved into a string orchestra piece as I continual improvements to the original crude score.

I added a fugue and an extended coda to the latest version, and I have continued the battle against violations of the Prime Directive of Counterpoint:  There Shall Be No Direct Motion Into Perfect Consonances.

I'll probably continue to tinker with the piece, but it is reasonably complete.

Well here it is:

Recording (Noteperformer 3):


Having a first and second cello part is a bit unusual, but I was thinking of my own orchestra, which has a ton of cellos and not many violas.


Completed Works: Junior / Re: Remember-Solo Bb Cornet
« Last post by whitebark on Yesterday at 03:05:07 PM »
Writing a melody without any accompaniment is a great basic composition exercise, and it is less simple than it sounds. To do this well, you need to know what the motives are in the melody and how to develop them.  You must create a pleasing arc in the melody which typically rises to a high point, which provides a climax.  Then the melody must end with a cadence of some type to give it closure. And there are issues of tonality and implied harmonies to deal with.  You might pick up a copy of Alan Belkin's "Musical Composition - craft and art" which covers these topics.

Consider the traditional "taps".  It's a short tune but has all the elements of a good melody.  As Ron noted it uses a simple motive consistently. The melody has a nice arc that rises to a high note, providing a climax of a sort, then falls again, relaxing the tension.  A strong V-I cadence provides closure.

Completed Works: Junior / Re: Remember-Solo Bb Cornet
« Last post by Ron on Yesterday at 08:26:42 AM »

I agree with Mark. The first part appears to be in D major, but then it gets lost. The mixed accidentals in mm. 19-20 add to the confusion with the augmented 2nds.

You start with two main thematic ideas in mm. 1-3 and the 2nd in mm. 4-7. Why not work with just them and build the piece on these two ideas? You did repeat the opening idea once in the dominant, but then you never went back to it. Take a look at "Taps" where there is just essentially one rhythmic idea: a dotted quarter note followed by an 1/8th note, then a sustained note. Simple works.
Completed Works: Junior / Re: Remember-Solo Bb Cornet
« Last post by mjf1947 on Yesterday at 06:51:53 AM »

Two observations: firstly, I don't feel a tonal center in the musical line; secondly, I don't understand the thematic line.  It might help as in "taps" the thematic motif is repeated clearly.

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