Hey this is cool, kind of like Brubeck type of stuff. There's a lot of fun rhythmic stuff happening, and I love all the crunchy chords. That's awesome your friend is having you do the music! Will we get to see the final project?? 😄  I think this definitely fits thematically for what you're going for. The static harmonies work well with the intense rhythmic drive.  You don't have chord symbols for the music yet, I would definitely do that. You unfortunately have some things that are impossible to play on guitar, and an experienced guitarist might have a work around if you explain the harmonic intent (if you don't know what the chord is called). For instance: Is the guitar standard tuning? There's no way to play that Bb7 shape. You could lose the top voice, but then you would lose the crunch I feel like you're going for. Just be careful with intervals of a second, as sometimes that's hard to achieve. Guitarists can take advantage of open strings, but these shapes don't line up well. The first chord (maybe just write E nat for the top voice?) is comfortable in open position, but awkward up the neck. I dunno, just my take.  You seem much more comfortable with piano writing, so just another reason to make sure to add the chords to the score. That way, if the guitarist knows a quick fix and achieves what you're going for, lots of time gets saved 🙂 Great start, keep us updated!

Hi @PeterthePapercomPoser and @Hcab5861! I've modelled the overall texture and soundscape off of the bass aria of BWV 159 (which is imo the most beautiful aria Bach has ever written). The omission of a harpsichord continuo and the strings "harmonic halo" are both completely intentional - I want the mood of the music to be gentle, warm, embracing. In addition, I'm a little bit torn on Da Capo form. I think it works well in duets but by default I tend to avoid it. From a singer point of view I don't get excited about singing the first part of the piece exactly twice, and from a compositional point of view, your ritornello theme better be REALLY good to warrant a minimum of four exact repetitions (but more typically six to eight repetitions including fragments), at least for those themes that are tonally closed. I much prefer the scheme of ABA' in these cases (e.g. see the alto aria in BWV 197), where A ends in the dominant and A' ends in the tonic.

I really like film music and in many instances, I don’t see it as a distinct genre from classical because several great classical composers also wrote music for film which is played alongside their non-film (like Prokofiev and lieutenant kije), the forces and style are often very similar and in its greatest instances I think film music can achieve the same depths and heights as great classical compositions, and furthermore, there is a very direct evolution from Wagner and incidental music towards cinematic music, as they are fundamentally the same concept.   With that said, it can also be really cheesy and cliche, especially today.  Nevertheless I have a lot of “highlights” from the genre…in the interest of restriction I’ll just pick one for today.  

It's fascinating to explore the lesser-known works of great composers, as they often reveal hidden gems that showcase their talent and creativity in different ways.

I've been taking something of a hiatus from classical music recently. I haven't had any big ideas to go off of when it comes to big orchestral works or even smaller chamber ensemble pieces; I've also wanted to compose small songs/do piano covers/write jazz pieces for quite some time now, and I figured it's about as good a time as any to just get on with it while I rest the classical side of my composing output for now. Don't worry (in case you are 😉), I'm sure I'll come back to it eventually. The piece below is one of my first attempts at writing in a distinctly alternative, non-classical musical language since I first started writing music two and a half years ago. I've been asked by a friend to write some pieces for his student film, and he asked specifically for an 'upbeat jazz'... thing to accompany a scene he plans on filming a couple of months from now. I decided to work with a jazz trio that consists of a drumset, piano, and acoustic guitar (since he planned on having the school band play the piece). I've made an effort to focus more on rhythmic drive and the 'groove' of the piece instead of melody or harmony, and I'm curious if anything here could be considered 'jazzy' at all, or if it's just a jumble of discordant sounds that merely assume the semblance of jazz improvisation. I'm quite unsure of this new writing style, so any constructive criticism is welcome. Hoping to hear from everybody! 😁 Note: the .mp3 only goes up to 1:42, since I haven't finished the piece. There should be a couple more minutes of music after that.