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Hi to all, Just wanted to post my latest orchestration attempt. It's the prelude from Cesar Franck's "Prelude, Fugue and Variation" (Op. 18). This is a rough draft for midi rendition: so I haven't added slurs, etc... Not sure about my brass passage in Bars 26-32? Perhaps I should stick with woodwind and strings? I wonder if I should attempt the fugue and variation too? Though they would be more challenging. Anyway let me know what you think? Franck - Prelude in C minor (orchestration) #8 (mid).mp3 Franck - Prelude in C minor (orchestration) #9 (score).pdf

Hello dear Lithl, First of all, thank you so much for your wonderful words. They gave me a tremendous sense of satisfaction, and I’m incredibly happy that you felt the music the way you did and appreciated it so much. I’d be more than happy to tell you about the plugins I use. I don’t know if you’re familiar with Pianoteq 9, but in my opinion it’s the best piano plugin available. I use my iPad with GarageBand, where I load Pianoteq 9, and everything is connected to my Clavinova. By the way, my Clavinova is actually of pretty poor quality, but it’s good enough to let me do what I want. I simply record everything through GarageBand, which is completely free. For my needs, it’s the simplest and most effective solution. I think it’s an ideal setup for musicians who don’t have access to professional equipment.

Always happy to be apart of what you create. And Vice-Versa. :)

To have the ability to say what I desire in so few words is something I strive to do. To put into words my exact feelings of this work seems a little daunting. While made for my sister, I find myself feeling selfish as even I feel a romance within the music. My hope now, is that you and others feel the same sense of connection I do. Thanks for the comments Red, I thought the voice leading was fine, and I couldn’t exactly remember what I wrote seeing your new example on the first read through. So after some back and forth, I realized there was a voice leading issue with the viola as it lands on the wrong pitch and breaks the stepwise pattern in bar 27 (I believe). I’ll take your suggestions into consideration as I amend the viola mistake. Thanks again!

Sorry, @MK_Piano Made some edits to that comment to be more correct and concise. Might want to read it again xD

I'm so glad that I was given access to this score as it progressed, via DMs. Oh how much it has changed since you presented it to me, and in so little time! There was One point of contention that I had about this that I wasn't able to flesh out to you, when I heard it. And it's not that it's anything incorrect or bad per-say, just something that no matter how many times I listened back to it, it just never sounded right to me.. lol if you'll refer to b.26-27, where you chromatically move the harmony and chord progression down, and in b.27, the last 2 beats are on 1 (A maj.)... Something about the transition between Fdim/G# to (I think this is G#m7/F#?) just feels jarring, to me, and comparing those two chords to the rest of the piece, I feel, personally, that it stands out in a not-so-smooth kind of way.. So, below, I have written out a version that I think would help it, in my opinion, to sound less jarring and more smooth, without changing anything too drastically, and have also attached an MP3 for sound reference. (for the ease of comparison, this moment happens at about 1:28 in the original audio above). Untitled score.mp3 In my example, I've, instead of going to the chord you'd written, I just pivoted Fdim/G# > G#dim > A Maj > E Maj G#dim being the only change applied, here, along with a change in the viola's harmony. Overall though, I LOVE this score, and what story that you were telling with this one. It really hit me in the chesticle, in a great and relatable way. Had me over here reminiscing over things in my past, and longing for what I no longer possess.. Which, while that's saddening to me, it's what the essence of this whole music thing is about... creating art that is able to illicit that in someone is just an amazing thing, don't you think? -Unc

This is such a wonderful piece...I agree with the above comment about the length of the piece. It's the perfect length for the occasion - the piece itself feels like it's telling us a story, but it's just a beautiful beginning (again, perfect for the occasion). Your treatment of the strings and the way they interact with the piano taught me a lot. When you pass the melody, it's not jarring, but we'll thought out and smooth. I'm sure your sister and her fiance will love the piece. Bravo!! 👏🏾

Congratulations to your sister on her upcoming wedding!! She is sure to be so happy to have a sibling who can write such a wonderful piece of music for her. Above all, the fact that she asked you herself truly shows the deep trust between you two. This piece is lovely, and I can really feel how much thought and care went into creating it. Also, regarding the A-flat around 1:28, hearing that note appear within the overall diatonic harmony, and then watching it resolve, felt like it was telling a story. It was memorable. I think it’s wonderful how it emerges without being too jarring, maintaining the calm and gentle atmosphere of the piece. As for the length, I personally feel that this shortness has its own story, fitting beautifully for a wedding. Sometimes, a length where you feel inspired to add more, and the listeners wish they could hear just a little bit more, is right. Of course, that is just my personal opinion. It really is a beautiful piece of music. Best, Lithl.

Hello Vasilis Michael. The quality of this piece is amazing. All of the progressions are really smooth as well. Incredible composing skills. I'm sorry I don't have any specific critiques to point out, but the piece is so dense for its length that I never got bored. By the way, what plugins are you using? I would love it if you could tell me. Best, Lithl.

Hello Everyone! I am here to share my newest work titled "Dear October...". Commissioned by my sister for the use in her wedding, this short work is has become a personal favorite. It had to be short for timing use during the ceremony, however, I find myself bleeding to write more. This said, if you want to find out more about the work, go to page 3 and read the "About" section. Thanks for taking the time to read this post, view my score and take a listen! (If you have any comments, both good and constructive, drop them in the comments!) Chmbr- DearOctober.mp3 Chmbr- DearOctober.pdf

Hi, thanks for listening, I really appreciate it! I’m a student, so I can’t afford to hire live musicians, that’s why I’ve performed this myself using digital instruments. You’re right that this is a technically demanding composition, in fact, almost all of my work requires skilled musicians (except for the educational pieces, which I also compose). Thank you once again for listening, and I wish you all the best!

I find the music very easy to listen to in this "Jazzy" work. It's quite charming and I do find quite lyrical too! The interplay among the instruments work quite well and tell a very interesting story. Have you had musicians play the work. It sounds (without a score) technically challenging. Mark

Hello my friends . Here my latest binary Sonata no 25 . I hope you like it

This is a scheme run by composer Colin Matthews and the London Symphony Orchestra, in memory of Polish composer Sir Andrzej Panufnik. It's designed to help composers early in their careers. They only accept 6 students per year, and after the workshop, 2 are selected to expand their works for a performance at London's Barbican Centre. I've never applied to the programme myself; I just attended this year's workshop as an observer (since they're open to the public).

I re-listened to the (entire) work. "A tone poem (also called a symphonic poem) is a single-movement piece of orchestral music that tells a story, depicts a landscape, or illustrates a non-musical idea. Pioneered in the 19th-century Romantic era, it freed composers from traditional symphonic structures, allowing them to follow a narrative's mood and flow. [1, 2, 3] Key Characteristics Programmatic Nature: Tone poems are a type of program music, meaning they are explicitly designed to evoke an extra-musical idea, such as a poem, short story, painting, or historical event. [1, 2] Single Movement: Unlike traditional symphonies, which are divided into distinct, shorter movements, tone poems are typically played in one continuous stretch where the music evolves with the story. [1, 2] Thematic Transformation: Composers often use a technique called thematic transformation or leitmotifs—where a specific, recurring musical theme morphs in tempo, key, or orchestration to reflect changes in a character's emotions or the progression of the plot. [1, 2]" I feel the material could be integrated more, as per the leitmotifs. Each story to me feel too distinct isolated. It reminds me of the music used in telling stories/scenes in a adventure type video game. Now having said this, the orchestration is interesting and creative. In one section you have the English Horn playing against the piano ... maybe the dynamic of the piano should be softer since it overpowers the English Horn which has a softer projection ... Ravel has a piano duet with The English Horn where the piano is ethereal and supports the lush English Horn melodic line. Take a listen below: Listen at the 6 minute interval. https://www.facebook.com/reel/2867905410232600

Alex, I greatly appreciate your pointing out the little notational errors. In regards to many of them: I'm just going to point out that I'm still using Finale! After correcting an error, a new one may potentially pop up later. My 2024 laptop continues to update, while the program doesn't anymore alongside it! Sooner or later, I'm going to switch to Dorico. But, I suppose for the time being my having been a decades-plus-long customer of Finale makes me stubbornly clinging to it! ha! ~~~~~~~~~~~~~~~~ As far as Celest' versus Celesta is concerned: I suppose you raised a nice little question mark even for me. I'm actually not sure why I did this!! I suppose at some point, I learned of the conversational-shorthand "Celest'"; and thought it sounded pretty; and no one had so far objected to it. ***shrugs*** Of course, depending on how big of a distraction it is, I can simply revert to "Celesta" with no problems. ~~~~~~~~~~~~~~~~ Notational issues aside, I've never heard of the LSO Panufnik Scheme. The festivals that I have participated in are typically (though not exclusively) Global Arts United LLC programs: Sophia Symphonic Summit, Brasilia Orchestral Summit, Venetian Art and Music Festival, Vienna Contemporary Composer's Festival, etc. They all have their little unique musical (and social/professional) vibes. What is your program like?

Hmmm. I am a bit curious about what was said before the edit; and what was rescinded. What was happening while I was away at my breakfast and rehearsals in Bulgaria? 😁 Can you elaborate on what you believe could have been less and still achieved the same affect/goal? What exactly about my orchestration was "overwhelming"? Specific measure numbers and/or sectional reference would be greatly helpful. Well, there you have it. Have you figured out the theme yet? 😊

A musical quote concerning Prokofiev's opera "The Fiery Angel" incoming (from Colin Wilson's book "The Occult"): And if you're gotten this far, thanks for reading!

Any suggestions of what I should add or if it sounds clunky at any particular measure or sequence! Thanks for any tips or comments or just giving it a listen. https://flat.io/score/6a4075493d5ae4e4fe3ce3ed-more-adventures?sharingKey=fa0e49d45dda22b4cd95f950c58eb11df73c8efba7dfa6c7035b041afc1aa06a0db822f86f4a489a67490e6effe3c608f200fce35725bec7097dac206d4b8e17

Hi @gmm ! Wonderful and ethereal piece you've presented! It has a sense of floating and the rhythms are very well chosen, never giving an impression of mechanicality but of an inspired flow. I do agree with Luis that the violins would sound better with harmonics or perhaps sul ponticello, sul tasto or muted. Thanks for sharing and glad to see that you're delving into writing smaller ensemble works!

A very successful orchestration 😊. I enjoyed listening to it. Great balance and color! Mark

Alex, I corrected the post ... you can delete yours .......... Mark

Not nitpicks at all. I did think about the notation(s). Thank you for comments ... they are most welcome! Mark

Hi Mark! Quite an interesting and chromatic solo oboe piece you've presented! I am wondering if you just arbitrarily decided to use only flats for this piece? It seems to me like, given it's highly chromatic nature, both flats and sharps would have been appropriate. Then there's also the Cb's you used in meas. 10 & 27 which to me should quite obviously be B naturals. In fact this whole phrase here: to me would have been better notated with a B natural, G#, F# and E since this would make the distances between all the tones more obvious (the distance between the Gb and E is a diminished 3rd which to me would just have been way nicer spelled as just a regular major 2nd). Likewise here: you could have spelled the E as well as an Fb perhaps? That would make the intervals between all the tones more obvious in this phrase. The Db in the 2nd measure could also have been a C# given the minor 3rd distance to E. Those are all just my personal enharmonic nitpicks for this piece. Overall, I enjoyed listening to this even though I usually don't enjoy solo instrument piece unless they're polyphonic. Thanks for sharing!

Rescinded.