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  1. Today
  2. Hi Henry. This reminds me of Haydn and Mozart. Definitely sounds Late Classical to my ear. Congrats on finishing this major work! Alex
  3. Yet another very melodically accessible installment in your Violin Sonata! It's very easy to get sucked into listening to it over and over because of its accessibility, which happened to me multiple times when I listened on this page and then opened the YT link. And the piece is seamless structurally despite having the much more important (imo) melodic coherence than structural coherence. It's also amazing that you manage to smoothly quote my Postlude theme from my Suite for Strings! It's quite easy to identify and I love hearing this little Easter egg that you included in this sonata! The piece is definitely scherzo-like, random pauses included (actually the random pauses enhance the scherzo-like atmosphere as they prepare the anticipation for a sudden surprising restarting of the momentum. I also love the modulations to Ab major, Db major and Eb minor. The piece is very harmonically adventurous! Great job and thanks for sharing!
  4. Very snappy light piece...and of course gotta love those random pauses haha. Also, very cool motif that you use throughout (4 sixteenth notes followed by an 8th note). The ending though, it makes me yearn for a cadence!
  5. Hi! This is the third movement of my Violin Sonata in B flat major, commissioned by and dedicated to Arjuna Clark @expert21. It's a Scherzo not only feature a lot of the ARJUNA motive, but also some references on Beethoven and my friend Peter's themes. I find this movement really funny! It's set in F major and have a modulatory end, as both suggested by Arjuna. The audio is again made by @Thatguy v2.0. Here is the score and YT video of the movement: Violin Sonata in B-flat major 3rd mov.pdf 0:00 Scherzo Proper. Use a lot of ARJUNA motive right from the start. First big change is a modulation to A flat major, then a random pause in 0:35, which is a technique I love to use ever since I was accused of having used it in my 3rd Piano Sonata lol. The music then modulates to E major, where I play with @PeterthePapercomPoser’s theme of his Postulde in Suite for Strings. This acts at some kinds of advertisement as I would be using this theme in my next composition. It ends firmly in F major, but then modulates unexpectedly in D-flat major. 1:22 Trio. As you can see from the tempo marking of "Largo molto very ultra religioso", you know it's a joke. I play with Beethoven's theme in his op.135 slow movement here, even though personally I worship this piece and his late quartets A LOT. I have it juxtaposed with the quick scherzo ARJUNA passages for funny montage effect. At the end I just quote the awakening call from Beethoven's op.110 Piano Sonata 3rd movement, again as a joke, as a wake up call for nothing here. 2:39 Repetition of Scherzo Proper. Though at the end it rather modulates to B-flat major, the global tonic major of the piece, to achieve an attaca to the final movement of the work. Here are the previous movements posted on YC forum: 1st movement: 2nd movement: Here are the references for the movement: Peter’s Theme: Beethoven’s op.135 slow movement theme: Hope you enjoy and leave some comments! Henry
  6. The title speaks for itself...
  7. Yesterday
  8. I think it’s better when you mark the structure of your piece with bar numbers yourself than terms like “Climax number one”
  9. Bar 50? I thought that's like at the middle of the climax.
  10. Originally I wanna reply all at once but when I was replying my boss was coming so I stopped LoL… I’m shocked to know that you find this sonata better than my Sextet haha, but for sure I appreciate it! This one was composed in a happy time, and all those clever things I did it with zero thinking as I just wrote what I want then with no planning or attempt to use technique at all! Maybe only for the 4th mov did I finally try to use some techniques. But here I just wanna write simply by emphasising the beauty melody I thought of. Henry
  11. Yo Peter! I think the microtone well fits with the lava setting, as I imagine the “normal” in tone notes are melted by the lava so they are turned to microtones lol. That electric guitar is cool enough and I imagine Vince playing it while shaking his hair LoL! Wait what I have the same imagination as you did lol. I type the things above BEFORE I read this. Thx for sharing! Henry
  12. Hello @seo_composer! Welcome to the forum! I really enjoy this one, it’s very soothing to listen to. I love the modulation to Eb major in b.26 as it creates great effect using flat median major. However, even though it’s only a prologue, I would say it’s too short especially when you modulate wonderfully and then it stops suddenly. I would extend it longer so that the wonderful effect won’t be wasted here, even if it would recur in later movements. Thx for sharing and looking forward to later movements! Henry
  13. Hello @lemon, Welcome to the forum! For me it’s because the quieter passage lasts a bit too long after the climax in b.45. Like you I love that cello melody near the end, but it’s contemplative, and it would be strange to contemplate when nothing happens before it. Before it there’s maybe f dynamics but they aren’t climax because of the motion and rhythm, they aren’t moving as much as the climax which ends in b.45 which I really like the texture. I think you really have the b.27 texture recurs again as the climax before the cello melody. Or another way: you can build from that cello melody and add intensity with semiquavers as you did in b.27, before entering the coda in b.116. Thx for joining and sharing your music! Henry
  14. Hello @L.S Barros, First, nice lyrics with that tree image haha. I must say the voice sounds really weird, but it should fit the setting with the organ once it’s with a more normal sound. I like the intro though, it does sound English medieval. Thx for sharing. Henry
  15. Hello @InterstellerApex, Welcome to the forum! I like the climax in b.50, it sounds really Chinese before the G# comes in. I rather think the ending climax in g Major a bit abrupt, maybe you can add some more bridges to it! In b.12 the D note can’t be played by a sul E? For the bartok pizz. Marking I think you can mark it with the proper marking? The piano in b.77 doesn’t need the octave sign. Thx for joining and sharing your music! Henry
  16. Last week
  17. A chamber piece that includes all string instruments that i tossed together. I forgot to master...
  18. A piece for Clarinet Bb and Piano that I wrote.
  19. This is something I composed. Intent on actual performance. Climax number one is not good. The rest is mid. The logistics work out though for the percussion. I used Noteperformer playback cause I was too lazy to put it into a DAW. Feedback would be appreciated.
  20. You were dead right with your analysis. Turns out MuseScore doesn't like to have more than two instruments playing the same pitch at the same time, and sometimes seems to prefer only one. Otherwise the mid frequencies stack up on top of each other, and blow out of range, even though the overall level is well below maximum. When I thinned out the arrangement, most of the distortion disappeared (see attached version). Unfortunately this has sucked the life out of the cue, and it's lost all its former richness, especially in the middle section. Sounds very hollow and thin now, not to say badly orchestrated!
  21. Hello friends! I am very happy to write something here again. This time I would like to present you this composition of mine. Again you can hear my specific features in music. Otherwise, I apologize if the recording will rattle you somehow, some lesser quality headphones and speakers can't handle it completely 🙂
  22. Hi Marius, Yes I do hear it on both the mp3, and the playback within MuseScore. I've checked with two sets of headphones, and I'm hearing it in both. Not all the way through, just when many instruments play together. Also hear it on my laptop speaker. Spectrum analyser shows some red transients in the mid frequency range: so I'm guessing that's what's causing the distortion. What you're describing sounds like buffering, which can be a problem if your PC is low spec. I think this issue has been improved though with more recent updates. Many thanks for listening! Alex
  23. Hey Alex, Except for those balance issues, I cannot hear a problem with the audio either. Do you still notice it in the exported and uploaded MP3 files, or is it just in the program itself? When I tried MuseSounds I had a lot of problems with it (including 'stuttering' and distortion), and I think that was because my potato pc just couldn't handle the program... But I'd imagine (didn't try it myself though) these issues would disappear upon exporting the audio. I should say I tried MuseSounds at its very first release (I believe 1-2 years ago), and my experience might've been due to a bug that has been fixed since. Anyway, I was so horrified that to this day I haven't tried using it again, so this might not be an issue anymore.
  24. YO MY BRO! Yeah these past few months were probably one of my happiest months in my life ever. I was able to finish the Sextet as I always dream of finishing, keep composing, enjoying music by having the time to listen music for many hours straight, enjoying food. films and wandering everywhere. This whole Sonata is the product of this free life so I am happy I am able to transfer my energy into it! Henry
  25. Thank you! I do hope to achieve the simple beauty here, which is lack in my past music when I was chasing too big topics and complexity (though rightly) sometimes. Henry
  26. Wow, great analysis! Thanks for getting back to me so quickly too. Agreed I didn't really hit the brief very well. Quite difficult though in just 5 days, as JW tends to use lots of strange chords and exotic scales. Hexatonic and octatonic seem to be his favourite. Will go back and rethink my arrangement along the lines you've suggested. Part of the reason it ended up that way is down to the course itself. We were told to use octave doublings to create a strong melodic line on Day 2. Then on Day 3 we added harmonies. (I pretty much copied the orchestration of the course leader here.) Day 4 was middle ground (counterpoint lines), and Day 5 finishing touches of orchestral colour, like harp, cymbals, glock, mark tree, celesta etc... Some of my tracks have a ton of extra reverb, e.g. celesta and trumpets 2, 3 & 4. That's because I liked the effect; but I imagine this uses up lots of extra frequency space in the mix too. Anyhow thanks again, will take another look at this over the weekend. Alex
  27. So a few things: Firstly, this isn't really very similar to the style of John Williams at all. But of course, John Williams is an absolute master; he'd already been composing 40 years before his first film score. Writing a piece in his style is no small feat. As for your mix issues, I'm not really hearing a problem with the overall levels on my end atm, but there are definite balance issues. Some of these are due to musescore/musesounds which right now are notoriously unbalanced and have limited ways of fixing that, but some can't be. What you could do is put the tracks in logic and automate volume to help them out and send them in to a new reverb. However, some of the other issues are related to orchestration and sample limitations. For example, you have, as a lot of modern composers do, all these big block chords with a melody over them. Bar 20 is a good example. Firstly, you have the trombones and celesta eating up a ton of the frequency spectrum by playing these huge chords, but then you ALSO have the trumpets coming in three-part harmony AND a String Melody in three octaves with the cellos taking the lowest octave. And everything there is playing mezzo piano. That's a recipe for mud, even in a live context I'm afraid. Then, in bar 22 onward, you still have trombone footballs, but now they are accompanied by absolutely massive harp chords. While that is happening, you have different things happening between bassoons + horns, violins, etc. Another issue is that the bass is entirely footballs in the piece, which does not give it any breathing room and becomes rather exhausting to the ear. "Melody + Chords" style Chord pads that have become popular in film music are actually generally considered bad practice not only because they're boring to play, but because the strings, low brass, and choir are basically the only ones good at playing them and these are large ensembles that take up tons of room in the frequency spectrum and stereo field. So you see beginners give this big, five-voice string harmony with a lonely oboe melody on top and then wonder why it's so hard to make the melody stand out even if the strings are at Piano. It's because the oboe is totally surrounded and your ear will focus on whatever line is thickest (the chords). If try to thicken the woodwind line, you're now competing for space with the strings. However, unlike samples, live orchestras have almost infinite dynamic range, and not only that, but they can stay at one dynamic range and still have a lot of modulation in the sound, which is something samples can't do. So chord pads with samples tend to just sound bad. With these pads mocked up with samples, you're always going to fighting the fact that your chords seem like they just can't play quietly enough, and if they can, the timbre is bad because you can't modulate the sound without screwing up the dynamics. TL;DR: You can fix some issues by loading it into a DAW, but the main problem is the writing/orchestration and samples suck at chord pads.
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