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Hey Vince! Nice prelude! Does this mean you're just going to keep writing more of these periodically? It would be cool! I think the tonic 6/4 chord in the last bar makes me expect a V before resolving to the final chord. It's such a well worn norm in classical music to hear the I 6/4 either followed by a dominant or a cadenza. Considering that a V/V and bII6 are both pre-dominant function chords, I don't think it would be unusual to transition from one to the other, especially since the V/V can function as a tritone substitution of the bII. But there are no bII's in those bars. In bar 2, the implied chords are V/V, IV, ii7b5, with an anticipation of the return to the tonic in bar 3. Then in bar 5, there is a resolution to vi. The only place where a bII appears anywhere in this piece (as Vince mentioned) is in bar 9 beat 3 but it's in root position with the 3rd omitted. But thanks for sharing Vince!

I've been impressed with some of Benjamin Wallfisch's stuff. Especially on "It", which I'm not into that kind of horror movie, but I was surprised listening to the score how melodic it is. I also really loved the score to del Toro's new Frankenstein movie, which is one of the most melodic scores I've heard come out of Hollywood in a long time. It's by Alexandre Desplat and it even plays *gasp* during dialogue and doesn't distract from it like directors all feared for the last 20 years.

Piotr, Thank you so much for doing this massive Muzoracle casting for me! I am absolutely blown away by the effort and thought you put into interpreting it and composing the music. I love how you translated the 'Silence' card by starting the piece with a single, isolated A note, and then brought the music to a beautiful, balanced place with the Violin's high chord for 'Harmony.' It's amazing how you used that whole ensemble—the Trumpet, French Horn, Flute, Violin, and Vibraphone—to tell the story of the cards. Hearing how the piece resolves on the final E♭ major chord after all that complexity gives it such a confident feeling! It actually makes me feel quite hopeful about my breath, notation !

I like the feature with the basset horns. I definitely like the orchestration used with that that’s my first impression. I like the initial progressive so far. I like the tone that’s invoked at the 3/4 measure. Lovely crescendo. Amazing with the progression with the dynamics. and awesome oboe solo too I love the route in the path. This piece is taking me. The 6/8 section also sounds good. awesome ending as well. I like the hemiola that’s also provided within the closer. Amazing work.

Hello again @Tunndy! Nice ideas! I think the following parts with 16th notes: should be notated as either being in 6/16 (or you could double all the note values and use 6/8). I've marked the strong beats as red down arrows and the weak beats as black up arrows. That's at least how I hear the rhythmic stresses in your piece. Thanks for sharing!

😆 I'm sure my big hands can get hold of them haha

The ideas you have written down are very good ,either continue with the structure you have with your peice or use these ideas in variations and what not. it looks like you already set up some variations as well. Sometimes I think when a dotted quarter note that is unisonly played feels a little bit amateur to me. If you wanna sound professional, definitely fill in those spaces. Like a downward 16 note run you could use. The flow and direction of the music is very open and you could benefit from a lot so definitely keep on finding and trying what works best for you anyways good work and amazing work.

I don't think Beethoven, my favorite composer, would mind this! Here, let me ask him, through the ether: no, he doesn't mind, though he might have made more sketches and corrections. This is worthy, I think I am getting from him! He has no problems with anybody orchestrating some potboiler he just wrote for a piano student.

thank you so much!

orchestra op.5.pdf orchestra op.5.mp3

You are welcome. 🙂

Ah gotcha, thanks. The bII chord is throwing me off, you mean the Db one in b.9 (it has no 3rd)? Btw, I wrote this for two reasons, and one was tinkering with implied harmony. It's interesting to hear different interpretations of it. Thanks for checking this out 🙂

b2. I think. But b5 is not?

Which bars?

Morning @Thatguy v2.0 Here is mine review of the prelude: The overall structure is built is first on opening phrase. I love how you use this idea and expand on it. The anticipation of each chord of each phrase is nice resolution of the chromatic raising line. I think the implied harmonies: I-V/V-bII6-I. This now makes ask...why are we going from V/V to bII6? 🙂 The answer: this is not a typical resoultion of the seconary dom...

are you looking for free editing software's or good ones?

This is great news, I've sorta distanced myself from film music because of all the rah rah storm drum samey rhythmic drivel. I know there's more out there though, I just don't know it. Any film composers you (or anyone) are impressed with lately?

Awesome Henry! I have a version with all the fingering if that helps 😛

I guess it should really be Benediction OF PJP II, not for, but I guess my setting is a Benediction For!😃 Now, I am having trouble editing ONE TYPO in the text. Noteflight is a pretty slummy music notation software site, but I'm an old man, and it might kill me to learn a better one, like Musescore. Oh well...🤷‍♂️

If I have to delete and republish this thing to correct two notes... Maybe by the end of the century, Noteflight can get around to updating a two-note edit!🤣 FINALLY!!!😃

OK, words in in the soprano part. There is an entry mistake in the soprano part, early on, but Noteflight is having particular trouble changing two notes this lovely morning!😆 (Measure 6 beat four, C#, measure 7 beat one, D.) I've tried to get it to save half a dozen times, could try again in a bit: someone must be on vacation at Noteflight, or maybe the whole company...

Hey @Tunndy! Although I don't think that this orchestration is entirely in good taste (with some parts still sounding quite mechanical and robotic such as especially the triplet 16th note runs) I think it's a huge improvement over your other orchestrations of famous piano pieces! You didn't include the piano in the orchestration as a crutch, and you use the instruments mostly idiomatically, making good solo instrument choices and giving the different instruments a chance to imitate each other creating changes in timbre that were original and most definitely not intended in the original. I like how you let the solo flute lead with the main melody, using the strings at first only to outline the harmony. Later you include some variations on the main melody to extend it. Then you include harp arpeggios in a way that sounds appropriate to a harp rather than a piano. You also create lots of variation and contrasts between restatements of the melody that in the original were the same. I like your use of dynamics and thickening up of the texture and creation of dramatic moments with the timpani. All in all, I think this was a very successful orchestration! (despite some things I would have excluded) Great job and thanks for sharing!

I do think the pendulum is finally swinging back. I was at a film festival last weekend and talking with the producer of a film I'm currently scoring and a director it was interesting. The producer was talking about how most all of the films at the festival would have ambient scores. We were all talking then about John Williams, Goldmsith, etc. and my work and then the guy had this pained look in his eyes, shook his head and said "...I just love orchestral scores." I think the new generation of film makers are into melodic orchestral scores, but there's not many people making them and doing it well. I'm basically the only one in my area. Film and game makers can only work with what's on offer. But I don't expect the Zimmerites of the world, especially those making a lot of money, to allow that pendulum to swing without a serious fight.

I’ll just be looking at eight crows in a tree today just the title already makes it sound like a dark but light piece. Kind of like that beginning it’s more monophonic than anything else, but it sounds good though. kind of like the imitation from the winds to sound like crows. I don’t know if that’s intentional, but that was a good effect though. It kind of feels empty, but the effect of it being empty makes the piece like hollow in a sort of sense. OK, I like the harmonic development that’s going on. Around the three minute mark. Nice percussion feature. I do see the use of the Octotonic scale. Great ending with that chord. OK in terms of development I get this style is supposed to be free flowing which is achieved in a good manner and is done effectively. It really takes a good year and some getting used to to go with the flow of this piece. Anyways, good job keep it up.

Thank you so much my dear Friend. I really appreciate your attention and Im so glad that you like it 🙏