I've started this thread so as to not further derail Guy's thread re intuituve composing.
This post is a result of my and David's discussion about the use of technique whilst composing, i.e. using craft. I said I'd post some examples from how I use t
I present another work from the "Intuitive Factory" to be ignored or listened to as you see fit. This time it's a rather neoclassical string quartet which is officially actually in C major, though this key first appears only in the second subject rec
Does anyone resonate or identify with the way of composing described in this video -
If anyone would like to participate in this journey in any way (details in the video), it would be great to hear from you. If not, hopefull, we'll have more videos
Have you ever written music for Halloween or created music suitable for the occasion? This is your chance to scare the hell out of us with your creativity.
I humbly present the 3rd and final movement of my Piano Concerto No 2, a boisterous jaunt through a fugue, which becomes a gigue, slows down to an arabesque type dance, and then becomes an all-out romp, and that's just the preview! Hope to lift your
I've recently completed my magnum opus, a setting of the HC Andersen tale The Little Mermaid. At over 1hr 7 mins, it's the longest thing I've ever written but is perhaps also the best and certainly the most characteristic of the sort of thing I'm mos
Quite a few years ago, I experimented with three short songs to German Romantic poets. Initially I had no software which could sing text so didn't pay that much attention to the text setting but decided to go back to these works and lay the words out
Right now, I earn my living setting music for pubishers, mostly parts. I need to use whatever software I am told to use. At the moment, composers are sending their scores to the publishers mostly in Finale and Sibelius, but with the recent sunset of
Disclaimer: This is not my work nor am I associated with it in any way. I stumbled across it while browsing fugues online, and it's just too cool not to repost here:
I've always wanted to write a rock fugue, or any fugue that isn't in baroque/classic
Someone in the upper echelons should probably check out Ahmed Khan, whose friend request message veers several miles into "spam bot" territory. I accepted purely to see was in their profile.
I'm working on a piece where 99% of the 8th notes are staccato. What's the best way to notate this? I thought of writing sempre staccato but not all notes are staccato, only 8th notes (and not all of them, though the overwhelming majority are). Longe
On 21 June, two things happened on my system: (1) Sibelius suddenly hung on startup, a problem that could not be fixed even by trashing the file containing my global Sibelius settings. I was about to give up, when I was inform
Hi, I'd like to share with you my new variations for piano again on a sketched beautiful and rather melancholic Beethoven tune from 1820. Formerly I have made already an orchestration of that theme.
Hi, I'd like to present to you my new overture on the fascinating notes B-A-C-H, inspired by some sketches by Beethoven . Please read the remarks in the video description ... I hope you will enjoy it:
I'll go first. I like to make things—not to express myself, but because I want to understand how things work. By writing music, I get to see the layers underneath. How does a brain work? After decades of profound drinking and thinking, I realized tha
as this forum seems to have died recently, I feel obliged to post something new. Well actually, it isn't really new but my String Serenade has been redone with a new chamber strings library and for the most part, I like the result. The piece is a bit
Just letting those of you who may be interested know that the first installment of my Orchestration In Depth series is now available on the Apple Books bookstore, this volume being focused entirely on Timpani. It is optimized for the Apple Books read