I'm looking for some feedback on Act I, Scene I of the opera I am writing. Here is the scrolling score video.
Loudness's iconic tune "Crazy Nights" uses the F# Phrygian scale in the opening riff.
Cullyn D. Murphy's "Agony" is a riveting, fast-paced work that fuses spoken word, percussion, mixed media, and theatrical elements to push the idea of what musical organization is, and what music is.
Ryan Carraher just finished a new work for solo tenor trombone entitled Alazia. "I figured I would share some thoughts and formal processes I had during the composition process."
I wanted to provide this score so we can evaluate the areas that need engraving. Here is a laundry list of things that need to be changed. You can go through the score and see how chaotic things are pre-engraving, and how much work needs to be done to make the music playable.
This set of canons is remarkable and charming. The counterpoint in them is quite advanced for a young composer (see the program note about when the first movement was written). Yet, there is still an artistic purpose in each movement and note choice.
Aidan Caron's wind ensemble work "Norwegian Portraits" is a raucous battle cry of a fanfare that elicits images of vikings and natural horn calls.
Paul Brennan's piece "Swinging on the Playground" is a light, lively, rag-time-inspired work for solo piano.
This submission to the young composer score call brings to mind film music, outer space, romanticism, and the works of Gustav Holst.
This piece features a lilting sense of phrasing, a consistent sense of meter, and a melody that will surely "sing" on a real instrument (the MIDI playback lacks the nuance required to fully experience it).
P.M. Joyce's work "Fairytale" is a well-polished work that would work well in a film score.
Koti Jaddu's submission to the Young Composer Score call reads right out of a book of preludes
Zekai Liu's work Enigma is a racing whirlwind of rhythm and the A blues scale.
Firmly rooted in the American Mavericks tradition, this work fuses hymns with polytonality and misalignment, a la Charles Ives.
Scott Blasco's work "Queen of Heaven" is a devotional-type meditation for piano and electronics.
Reilly Spitzfaden's work Resonances is an interesting exploration of instrumental tone and gesture, a cat-and-mouse game of imitation.
Mitch Weakley's piece "Keys, Strings, Clothespins" investigates a C pentatonic scale with a flattened sixth step (Ab) through the lens of a prepared piano, and its consequent timbres.
Matthew Kennedy's "Until I Say 'When'" is a breathtaking exposure of space, timbre, and mood, that is both playful and hypnotic.
We will be taking a brief detour from edgy music by exploring the world of modality, jazz, and levity.
"STRING II was made with “real” sounds - sounds that I recorded both in my studio and in the field. I used only the oddest bits of these recordings to go ahead and represent something else. Something that EVERYONE hears differently - its interpretation is up for grabs. I feel that’s important."