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Hey @Alant! I like this a lot. It does sound like it could be the soundtrack to a chill video game. I actually think a mixture of instruments would be favorable! I preferred the deepness of the bass in the first version, that was really nice, though i like a lot of the new stuff in the second version too. You could combine them. As for ideas for what could come next, if it were me, i might do a pause followed by a big tutti g chord, and then continue in G major. And maybe do some inversion and retrograde with the motifs you have?

Here is an extended and better arranged version of the piece. Feedback on the composition and instrumentation (maybe it would be better off just using synth instruments?) is appreciated

@David_DLM Hey, thanks so much for the kind words!

https://youtu.be/9C14iTBm3z0 first track is calry! second track - lana! https://youtu.be/q-XmSZtvxt4 would like to know what poeple think about the mix and the song wirting material! tahnks! - Nikkol.

To those who have not had the pleasure of listening to the original, here is the score https://bnf.cn2.imslp.org/files/imglnks/caimg/a/a2/IMSLP903191-PMLP1420925-Finzi_-_Lo%2C_the_full%2C_final_sacrifice.pdf and it can be found widely on youtube, but my favourite performance is

FFS orchestrated.pdf FFS orchestrated.mp3 Hello all, as a church singer I don't really get to interact with the orchestra too often but given that corpus christi is coming up I decided to orchestrate Finzi's Lo, the Full, Final Sacrifice as my first proper orchestral work. I literally just picked the basic orchestra template and filled it out based on the organ part, but I think it came along quite nicely. I'm also kinda broke (I spent most of my money on one of their organ sounds which was a good investment imo) so I don't have fancy software or sounds so it's literally just the free musesounds... the choir playback has been pretty scraggy recently, and they also happened to have recently published a paid choir soundpack - coincidence? Once again this is my first proper orchestral work so some feedback/advice would be very nice!! -develop331, and sorry to the flutes

Hi to all. I've recently revisited this work to create a more accurate mock-up, and just wondered if I could get some tips on my stereo panning and mixing/mastering. It's all be created in MuseScore, with some of the extended instrument libraries from Spitfire, Berlin and Cinesamples. The score is designed for MIDI mock-up only. I tried to pan the instruments to roughly where they would be in a real orchestra, though I'm not sure I like having the high strings ranged left and the low strings right.

Just check this out and would like to give an update: after my professor listened to the entire 2nd movement he told me that he thought the piece very powerful, solemn and sacred, and even though my dedicatee is already living in heaven now, he would be very proud and touched listening the whole piece. I remembered when I checked out his message my tears fell down immediately and they are unstoppable. That’s the first time he ever complimented my piece haha. Henry

Hi @mercurypickles! Lovely pair of songs, the first one lyrical and second one pastoral, especially with the oboe sounding lol! I really like your modulation to Eb major in the second song, it’s like quoting material from the 1st song to the 2nd song. However I would say the interlude is a bit too long for me, maybe for me I will shorten it. Thx for sharing! Henry

Hi！ I agree it’s Scriabin like, and what I like most is how coherent you write with motives even in a short time span. Thx for sharing! Henry

Hello @Alant! Like @Thatguy v2.0said I like the 5/4 waltz, not very commonly found as in the 2nd mov of Tchaikovsky’s Pathetique. I agree with him too you can develop the piece to a longer one. I love the time signature changes you make after the opening bars! The C natural in b.11 gives a mixolydian feeling which I like as well Beware of those F naturals, as they should be written as E sharps since they resolve upward as a lower chromatic auxilary to F sharp. Thx for sharing! Henry

Hey! I loved the upbeat pace and the charming, animated energy. Such a fun listen! Great rag, and great work capturing that classic cartoon feel!

Thanks @Henry Ng Tsz Kiu! I'll have to check some of those rags of his

Thank you for your like! The lead singer is me, and there are other singers singing along with me. 谢谢你的喜欢！主唱是我，还有其他歌手为我伴唱。

Hey @ferrum.wav! I feel really surprised and honoured that you quote my theme in the Image, I love your usage here! I do think the theme fits well here, though in a more playful mood which reminds me of Alice in the Wonderland haha. This is the first time my theme got quoted and honestly it feels wonderful haha. Your modulations and chord progressions sound wonderful and fantastic, also those occasional playful syncopated rhythms fits the atmosphere well! The orchestration is something I have to learn from. Thx for sharing! Henry

Hey @Fugax Contrapunctus! I really really love those suspensions you have in the whole music, it even includes a suspension of false relations in b.5! It reminds me the opening Kyrie of the Mass in B minor in some way, maybe because of its five voice distribution. Thx for sharing! Henry

你好 @张文灏！ Welcome to the forum! The tango style is well maintained in the music! Is the vocal by yourself? Thx for joining and sharing! Henry

Hi @user011235! I like this rag haha, really fits well to the style and the animation. If I don’t remember wrongly, our boss @chopin has composed rags before. Thx for sharing! Henry

Hi @Fruit hunter! Like @MJFOBOE Mark said I love your percussion very much too! I love your use of the bass drums and chime bells and bells, and they combine really well with the brass to form a grand atmosphere for music related to a dynasty. The combination of piccolo and the field drum in p.10 sounds really festive and I absolutely love the drum there! The texture around minute 6 with pizzicato sounds funny to me. I love the forte muted brass in 8:30, it really brings excitement with the underlying marching rhythm. Like the siren in 10:30 too. Thx for sharing! Henry

Not a movie but: the ballad of jane doe https://youtu.be/HXbRfQAHfdg?si=SzrKL4OuSqlTfMow

by playing your works For one you are demonstrating reality, not just abstract concepts there may also be some performer/instrument/acusotics specific aspects only you can do of course being an amateur without the finest techniques I struggle to perform my own works even with more time in practice something I definitely lack irl i might also face musicality or intepretative blind spots so its always helpful to have someone else try to (at least how to) play your work

Just finish Spirited Away last night... Also, I always cry listening this in the credits....

I went through a ragtime phase in high school, and this one I think is the most solid out of the rags i composed. I picture an old squash and stretch car from those classic cartoons, bouncing along at a moderate pace

Hello everyone, I'm Wenhao Zhang, a singer-songwriter from China. Here I'd like to share with you a song I composed, titled "Ghost Party", which features a tango style and incorporates elements of musical theatre. I hope you enjoy listening to it. 大家好，我是来自中国的创作歌手张文灏。在这里和大家分享一首我创作的探戈风格、融合音乐剧元素的歌曲《幽灵派对》，欢迎大家收听。

For Cello (Solo): Low position repeated four-note scale patterns are a pain on cello due to the fingering system. (1812 overture near the end) For the same reason, chromatic passages are somewhat easier on cello than violins and violas. However as you go higher up, Scales and then ultimately arpeggios get easier to play as a result of finger distance change. Double stops up to a octave are usable throughout the range. Tenths start about from F# (minor) or G (major) (on the C string) as the lowest notes. Repeated thirds involve a lot of shifting. best to do it in higher position for fast passages. However, this is still quite difficult but a competent cellist should be able to play with some practice. sustained triple stops require that some the upper notes be about an octave higher than the open string it's played on. This will still be played forte though. Fast multiple stops can get a bit clunky and more percussive due to the bow pressure. Fast alterations between natural harmonic and open string in one bow are impossible unless the left hand plucks after playing the harmonic. If the bowing is separated, This still could be a problem in low dynamics. Forced harmonics are much more agile than either natural or artificial harmonics as they are fingered like normal notes. This still can not be played too forte though. Don't overuse the A string for solos. For some reason a lot of composers love it, but it just sounds to harsh especially in lower positions. Dropping a melody down an octave is an option thus. High position fifths are harder than sixths, thirds, octave, and tenths unless there is a chance to use the thumb (Shostakovich Cello concerto no. 1 first mvt. near the beginning)