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Anyway, I really don't have anything else to post tonight, so you all are all safe.

Good Lord, Peter, the rules were because of me? I'M FAMOUS!🤩

I just do it without meaning to, been a while since I was in school, academic protocol...

By the way, we formulated these rules in response to your posts and activity on this forum. And that is because nobody else really has ever used (or rather abused LoL) the forum the way you are before and we felt the need to protect the forum from this kind of posting and "content".

Yes, just a haaainus aanalogy!🤣

nice a*alogy lol

Certainly nothing against you, Henry Ng, but it seems unnecessarily a*al sometimes, and I don't mean to offend your protocol.

It's good you take note of that. Henry

Hi, 林家興. First, I don't know how this piece hasn't received any comments in two months. It is absolutely delightful, from start to finish! Smooth and spunky, all at the same time. I'm not sure if this is a live recording or not, but the playback was terrific. I love jazzy melodies and chord progressions... and the way you pull off the key change so smoothly to the complement (from Ab to D) is very impressive. Hats off to you! Amazing piece. So glad you shared it with us (and I'm glad your brother liked it)! Best, Jordan

Hi, Izaak. I must say, I was transfixed listening to this piece! The sustained harmonies, the silky textures, the pulsating rhythms: it was masterfully crafted. Few things bring me more joy than experiencing a composer who's expressing himself in his own voice - and that's exactly what I felt here. In my opinion, you accomplished what you set out to do with this piece. It was at once anxious and grief-filled and restless, and yet somehow still very moving. Thank you so much for sharing with us! Best, Jordan

OK, whatever.

Hi @Churchcantor , I split your post from @Fruit hunter 's original post: I do this because we want to follow the rules in our forum etiquette: In rule 2b it says: We have this rule because by posting your own music under other members' post, it will 1) divert the original intention when the member wants some feedback on their own music rather than your music 2) causing your music to lose chances to be reviewed since it is posted under other members' posts 3) It is impolite to do so. I know that you only want to respond to other members' posts without malice. But you also need to know that this may cause some disturbance and dismay to them since you repeatedly post your own works to other members' posts without much discussion, thus they won't have much gain from your posting of your own work as a response. It would be better for you to just create your own post for your own work and then quote it under other members' posts. You are also to be reminded that if you keep posting your own piece of music to other members' posts in the way you do this time, you may receive warning points for that. Hope you understand that we clearly don't want to issue warning points to any members. Henry

Jesus, but you have a lot of time on your hands! Like me when I was actually in school as a Music Composition major. Carry on! I once got an A for a paper on Beethoven's Heiliger Dankegesang, in college. 🤣

Here is my Cyrillic, Ukrainian beast, though it is not the best piano piece ever written. Для Кирила Free Sheet Music by Robert C. Fox for Piano/Keyboard | Noteflight

Well, I was trained, like many of you guys. I only think I can orchestrate, because I listened to and studied every Mahler symphony, about three-dozen times each! Divide the violas! They are less dangerous that way!🤣 Viola was Beethoven's best string instrument, like Mozart.

My best guitar writing is in my only symphony, with guitar obbligato... Symphony-Concerto In A Major For Electric Guitar And Orchestra-1 Free Sheet Music by Robert C. Fox for Various Instruments | Noteflight

Well, from a quick glance, I would say that you know your counterpoint.🙃

Here's my analysis of the three aspects you requested (harmony, orchestration, and interpretation). I've organized this post accordingly. Harmony Strengths: You use layered tones very well, especially in the strings, bassoon/contrabassoon, and brass. For example, the opening sul pont immediately creates a tense atmosphere that really suits your subject. Key Improvement Areas: There is too much harmonic stasis. We spend too much time hovering in dominant or tonic pedal harmonies without much meaningful movement beneath. Yes, these pedal harmonies go a long way to create atmosphere, but they also delay any sense of harmonic identity or direction. Even when the Allegro arrives, the harmonic palette doesn't change substantially, the texture just gets busier and louder. We are moved rhythmically but not harmonically. Suggestions: Consider using long pedal sections more strategically, with chromatic shifts in the held bass tones. These can create a lot of drama without adding rhythmic complexity. You might also consider employing modal harmonies, like Dorian or Phrygian, to evoke Central Asian/Siberian folk music traditions in a way your current diatonic approach cannot. Orchestration Strengths: Percussion! You use this section very creatively and imaginatively, and the intricate instructions and directions signal real knowledge of percussion techniques. The bowed vibraphone and screaming gong are great examples of thinking outside the box to achieve your desired effect. Key Improvement Areas: The greatest issue facing this piece is balance and crowding of registers. For example, in full orchestra passages, nearly every instrument is playing forte (or louder), and most are in similar registers simultaneously. In an actual performance, this will create a wall of undifferentiated sound rather than the textured climax you're looking for. Moreover, most of the instrument families tend to do the same thing together throughout the piece. The brass, for example, play similar rhythmic figures at the same time in your climactic sections. Same with the strings; there's a lot of doubling with the other string members. Suggestions: Stagger instruments' entries, especially with the brass, to improve timbral clarity. For the woodwinds, try not to write at the high end of their registers during climactic passages (except maybe the flute and piccolo - oboe and clarinet will become fatigued much more quickly), as they'll have to play extremely loudly to be heard. The violas are particularly underused in this piece, although all the strings sort of play the same thing most of the time. See what you can do to give each member its own line. Interpretation/Coherence Strengths: You employ strong structural ideas to frame this myth. Section I (Adagio minaccioso) is environmental and mythic. Section II (Allegro) is growling and rhythmic. Section III (Andante sonoro e vellutato) is the emotional heart of the piece. Sections IV-V (Moderato minaccioso) return us to a more aggressive character. Ending with an abrupt silence is good instinct! Key Improvement Areas: The Allegro goes on for too long, with the same rhythmic textures enduring for about 50 measures. On the other hand, the Andante should be longer. The lyrical woodwind-writing here is especially intimate, which suits the first-person encounter. If this is indeed the point of human contact, it deserves more development! Finally, the piece's emotional trajectory is loud --> quieter/lyrical --> loud again --> louder. This means the piece ends on its most intense moment... climactically dynamic, but it may obscure the mythological/encounter narrative you're going for. Suggestions: Consider giving the Allegro section an internal arc to give it more character (maybe the creature stops and listens, or there's an external threat that suddenly appears). Also, if the first-person encounter is meant to be the core of the story, consider whether that last section is a return to the environmental myth-telling perspective or if it's a different kind of confrontation. All in all, this is an ambitious work with a strong programmatic concept and some real moments of orchestral imagination (especially the percussion)! Thanks for sharing with us. Best, Jordan

Warum nicht? I would not mind this played on electric guitar! Meiner Musik is like French Salon Music, a bit later. Well-written, yet light and meant for entertainment.

If anyone wants to say this is either a bad or a good piece, or mediocre, I really don't care. It is the piece that really got me back into writing music, in December, 2024.

I forgot to mention Japanese music, as I'm only slightly familiar with it. In particular, I really think Async by Ryuichi Sakamoto is a great work. Also, I find some J-Pop songs fascinating. The vocal styles are quite distinctive to my ears. So, these are Japanese examples. Ryuichi Sakamoto - Async DAIKI TSUNETA - THE FEST SUITE FOR CARTIER J-Pop ↓ ヨルシカ - だから僕は音楽を辞めた Fujii Kaze - Nan-Nan Kenshi Yonezu - Pop Song

Interesting, at least.

Ah, Wagner! What's Opera, Doc? (1957) Opening and Closing Very hard to find the entire cartoon, Warner Brothers' best cartoon, and maybe the best Bugs Bunny cartoon, even if you pay. Go figure...

Ok, this is such an interesting topic. I didn't know some of the pieces and musicians. I've already learned about new music :) I hope that more people will respond to it. Here are my examples. Johan Johannsson - Orphee John Adams - Short Ride in a Fast Machine Albert Zabel - La Source (Am Springbrunnen) for Harp, Op. 23 Eliane Radigue - Musique de notre temps Hania Rani - Buka Ennio Morricone - The Crisis Marcus Miller - Power Cecil Taylor - Unit Structures

Three Warrior Hunettes? Not half so bad as Wagner! Spiky horn leather hats! I love his music, but his last opera (Music Drama, so he could kick me were he alive, here, at least!) Parsifal is all about Racial Purity! Hitler loved it, his favorite opera. Wagner didn't like Jews, but was at least civil towards Jews, and worked with them. A Jewish person could have played in his orchestra, and if they played well, he didn't mind. His operas are too long, but then again, I even find Mozart operas to be too long. Weber's Der Freischütz is the ideal, my favorite opera. Caspar was such an incompetent warlock! The Devil himself even did not find him to be of any use... Der Freischütz Ernst Kozub Arlene Saunders Edith Mathis Hans Sotin Gottlob Frick Hamburg Footnote: Parsifal overuses the Dresden Amen! Too many times, I think in various keys...I have the score. AMEN DI DRESDA And Mendelssohn was of Jewish extraction, but became a Reformed Christian. His grandfather Moses Mendelssohn was a famous Rabbi and scholar! Peace I leave with you (Felix Mendelssohn) Adolf Hitler didn't like Mendelssohn, still technically Jewish. He missed out...just listen to the violin concerto! Mendelssohn: Violin Concerto in E minor, Op. 64 (with Score)