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“ The calm before the storm, the feeling of eating gas station sushi except instead of intestinal problems it’s your ears getting that treatment. Sonic diarrhea is a seven minute work consisting of random noises, groovy melodies, and the sonic equivalent of having a horrible stomach ache… it’s great for the performers too. They get to have a little bit of fun. Structure: this is treated like a Rondo if you may, (ABACA) we have the sonic diarrhea theme (A) , a calmer theme (B) and a very jazzy theme unexpectedly (c). Enjoy!”

I think mozart 25 is great too!

Another way would be to move to Abmin for a moment and then, from there, to its parallel major of Cbmaj (enharmonically equivalent to Bmaj). I think it could be quite smooth specially if you go through the V64 --> V progression (B/F# --> F#). For example: I guess this couldn't be considered a lush progression, though. As @Monarcheon suggested, for a lush progression it might be better to start with some line (maybe melody, or a strong bassline that you know points towards B major, or both) and start filling in the remaining voices in any way that sounds good.

I'm more of a voice-leading kinda gal, but I came up with this on the fly. I have no idea if it works in the context of your own work, but in general, I'd advise starting with moving lines that mesh well, then filling in gaps. Happy accidents happen all the time!

@PeterthePapercomPoser Hmm, I'm not exactly sure what you mean; I don't see anything missing on my end. I didn't replace the file with anything, just changed my explanation!

Working on a small piece for string quartet + flute that modulates from Ab Major to B Major. It's a medley of two songs...the first song ends on the pitch Ab, and the 2nd starts on D#(Eb). 1st song is in Ab, and the 2nd is in B Major What is a lush progression that will modulate between the two keys?

Thank you very much for your comment, Daniel, and sorry for the delay in replying (I'm in the middle of exams). I'll take a look—as I've been doing—at the works of the other composers, but now interacting with them more. Cheers!

Greetings All: Sharing my Viola Sonata on this Thanksgiving-Eve. The style I was trying to emulate is early Beethoven, in my own inimitable way. The parts are equal - in fact, as was often the case in Beethoven's sonatas, the Piano takes the upper hand about as often as the Viola does. Hope you enjoy! Composed: April 19 - July 4, 2022 at Austin. Style: Classical, ca. 1790-1800. Duration: 18:10. Electronic Rendering by Finale 26 music notation software’s "Human Playback" with NotePerformer 3 artificial intelligence assisted interpretation.

Well, both the Rhythm and Tuning cards pertained to her finding an outside pattern to accord with - so perhaps, in the end she found it?

This could be a study on how to use slurs effectively in bowed instruments. How did you get the slurs to sound so good btw? The microtones add an interesting color to the piece and the rhythms are fun to listen to. You used 5/8 with a purpose. Also, the ending is so normal and calm compared to everything else, does this mean that love was found after a chaotic journey?

I am back with yet another Muzoracle casting! This time Celery asked me when she will find true love. The whole casting ended up pertaining to her past so perhaps she may have already found it! (Muzoracle is a storytelling/fortune telling/divination tool similar to the Tarot card deck, but with cards with musical concepts and 12-sided Musician's dice and Solfege dice. Perhaps it may be thought of as a special musical Oracle card deck.) My interpretation of the cards and dice are displayed below. Since castings in the key of F are associated with the Heart Chakra, they accord with the emotional suit of Strings, so I decided to include a Violin and Cello, since Celery also used to play Violin as a kid. Then, in the 2nd position we drew a Perfect 5th of Voices card, so I included prominent open 5th's in the piece and a Soprano singing Celery's question "When will I find true love?" as lyrics. If you'd like to find out more about Muzoracle and how castings are interpreted go here: https://muzoracle.net/ This short musical interpretation of Celery's Casting is about ~1:15 long. Since the black 12-sided Musician's Die landed on F, the piece is in the key of F major. I created the following melodic/harmonic underdrawing guided by the cards and dice. The first solfege die landed on Le, and the second on Ti with a Perfect 5th card in that position allowing me to use the tones Db, E and B natural. In order to smoothly connect to the tonic chord of F major I included the first two positions transposed down a half-step allowing me access to C, Bb, and Eb. The Tuning card gave me the idea of changing the tuning of the piece microtonally. So I decided to bring the tonic chord down a quarter-step momentarily. But all the tones were brought down by a quarter-step, so the intervals used were still your basic 12TET intervals. In order to extend the piece I also transposed the whole pattern up a half step to F# before concluding on a regular F major chord. Also, since I extended the number of positions in the casting to a total of 5 I decided to use 5/8 for the meter of the piece. If you've gotten this far, thanks for reading! And I hope you enjoy listening to this short vocal chamber work I wrote to represent Celery's Casting. Comments, critiques, suggestions, or observations are of course, always welcome. Thanks for listening!

This is a really fun piece to listen to! The brass writing is top notch. The highlight for me though, was the duetting between the piccolo and flute. Not a combination I would've thought of using. Love the strange sound of the flexatone! Will have to use that instrument some time in one of my future works. I wonder, would it come through as strongly as this against a full orchestra? Or would it need to be amplified?

“It is a very difficult topic for me since I have so many beloved concertos. Especially when I have to choose among so many that Mozart wrote. I consider Mozart and Beethoven to be the top, but I certainly also have some from the Romantic composers that I adore. I will definitely include 2 or 3 by Mozart. And the ones I don’t include, I feel like I will be doing them an injustice, but what can I do—I have to choose some.” 1. Μοzart Piano concerto no 25 K503 . ( This is seriously my personal favorite piece in general, i cant describe what that concerto means for me ) 2. Mozart Piano concerto no 24 K491 3. Mozart Piano concerto no 17 K453 4. Beethoven Piano concerto no 4 5. Ok here i have to choose and one of the romantic era that is my favorite and this concerto is Brahms piano concerto no 2 PS: “Ah, if only Schubert had written a piano concerto. How much I would have loved that.”

I really love this. Some harmonies are so interesting and gave very special timbre and atmosphere to the whole prelude. Well done my dear friend. I really enjoyed it

Actually now top six sould also have Beethoven 5.

I don't say blah blah blah.pdf nocturne in c sharp minor. op.13.mp3 composed this in around an hour, I'm actually quite proud of this for the time I put in it. thought I do feel like it's a bit too similer for comfert to chopin's nocturn in c# minor

So, I shared this work in progress a few weeks ago... In the meantime between then and now, I discovered my best friend (my pet) lying in the back yard, unmoving... Tragically, I'd determined that he was killed by my neighbor's dogs... This has struck me very firmly in the chest, and has been difficult to cope with. The little guy was my shadow. Every time I would be composing music, working on a car, doing yard work, or simply sitting outside in the sun, he was always right there, in my lap or somewhere not too far off beside me, supervising or just simply exercising his need to exist in the same space with me. I don't have many people in my life, not anyone who I can physically spend any time with, anyway.. He filled that void. So.. I've decided that I'll dedicate this new score as a way to tell his short life's story instrumentally. The prologue section represents his life before I ever met him. Telling a story of confusion, misplacement, and abandonment, as he was a kitten on his own in the city streets without a family, without his siblings or his mother. My sister found him on a particularly wet and rainy afternoon in september of 2020, near her home, running across the road during heavy traffic. This prompted her to retrieve him in order to prevent him from being hurt, beginning his journey into my care. I don't have a name for the second section, quite yet, but the beginning of the section begins with a light, heartfelt, but careful explanation of the time that we first met, after I adopted him. At that time, I was a bit worse for wear, in the mental department due to the circumstances in my life at the time. He was a gift to me to assist in easing the pain of abandonment that I was feeling in that point in time. We were both careful of one another and learning who each other were. Later in that section, the orchestration demonstrates a bit of playfulness, representing when we became comfortable with one another. From there... I haven't gotten much further. I hope the back-story context is able to shed some light on the composition and the choices made, thus far, in it's writing. Please, let me know what you all think. I appreciate the feedback in advance, and I apologize for not being too conversational, as of late, as I am in the process of mourning his passing, especially given that it was so sudden and tragic... Please bear with me. 🙂New(2).pdf New(2).mp3

I agree! I love how Debussy moved his chord progressions along. Thanks for listening I love this too. The sneaky parallel fifths in that string of chords sounds "shiny" to me, my brain kept wanting me to tinker with the counterpoint but I ultimately went with my ears. Thanks for listening, I'm glad you enjoyed it!

Thanks for your feedback! The continuous repetition is meant to create anxiety in the listener! Don't forget that the piece is inspired by psychotic clowns; imagine those clowns repeating deranged attitudes toward a person, psychological torture.

Hi, yes, the program is an older version of Sibelius, that's why there are some problems.

Hi, I didn't intend for the piece to be in any particular key. Regarding the repetitions and the irritability you felt, I'm happy to hear it, since that's what I was aiming for with the piece: for the listener to feel that discomfort, which I associate with psychotic clowns burning the listener's brain.

Happy Winterval to all! This is a work I posted previously in the incomplete section, and it takes the form of a mini-concerto for violin (with the movements indicated by the rehearsal marks). It's more or less finished now; though I may still have to tweak some of the voice leading, and haven't started writing in the slurs yet. Since I last posted it, have added a coda at the end, and a whole bunch of counterpoint throughout the piece. (N.B. Rehearsal mark C indicates the start of the coda.) The work was inspired by Vivaldi, along with a modern work called "The Gold Standard" by Richard Harvey. (The latter was the main inspiration for the coda.) Think the most successful melody-line is in the second movement, as this carries emotional weight for me. The other two movements are more like baroque dance music. (I could imagine the cast of "Bridgerton" dancing to them at a ball!) I may have to cut the work down, as we're not really supposed to go over 5 minutes, and I'm now at 6. So any suggestions about where I could cut would be very helpful. Not quite sure the structure is properly balanced at the moment, or whether the movements gel together as a coherent whole? Any suggestions on what to name the piece also welcome. N.B. The dynamics and articulation are intended for midi rendition, and will have to be adjusted before I send it to the orchestra who are performing it next year.

This is quite an accomplishment, and intensely beautiful. I'm not qualified to say much more than that because of my rooting in Classicism, but you have my compliments. I hope the dedicatee appreciates it.