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I wasn't that convinced at first, but over time it progressed into a very beautiful piece overall. I wouldn't categorize it as truly ambient, but I see the whole Aphex Twin-esque electronic vicinity to that definition of ambient. Certainly it is very cinematic. I wouldn't mind listening to an EP of this and similar works.

This score was conceived on the idea of building a chord using an interval pattern built as: Root (Any note) > Perfect 5th > Perfect 5th (from the prev. note) > # Semi Tone > Perfect 5th. I found that this gives you (X)min9 every time, regardless of what note you start it on. But built with intervals like this gives it a very wide, open, airy, ethereal sound that I just couldn't get enough of. Additionally, there is some personalized nuance included in the direction and theming of this piece, that is intended to depict a feeling of melancholy, mixed with a sense of hopefulness; It tells a story of losing one's purpose within their life, and struggling to find their way back to a specific goal again. I am having a difficult time sticking myself to a certain structure/form, and struggling to find more direction as to where this piece could go... Any suggestions or comments are highly appreciated :) 32468483.mp3 Aurora.pdf

Thanks for the comments! I must admit, nothing was intentional 😅. If I recreated a theme, then it was purely by coincidence. The most obvious one to me is the Mendelssohn D-minor Trio main theme. I didn't mean to use the same opening intervals, as I originally started this work at 1:00am and was just feeling the half-asleep burst of creativity do it's thing lol. I personally used Khachaturian as my basis in the Development section. It did only take me three days to finish and once I settled on the Rondo form, I admit I just took the easy way of CTRL+C. This said, It did give me inspiration to do more with the whole theme, and I did sketch out a way to make this a three movement suite. "A Suite for the Dead" would be the WiP title. When it comes time to ship the finished product, I would want to reorchestrate a majority of this work. To be honesty, the more I listen to it, while as catchy as it can be, it gets stale outside of the harmonic changes. The more I grow as a composer, the more I have the feeling I can do more with this work too. Thanks again for the comments and I would love to chat in more detail about it sometime.

Hey @Alex Weidmann ! I love this orchestration - you've included lots of clever voice exchanges between the flute, oboe and clarinet that really create a kind of klangfarbenmelodie out of Mendelssohn's original piece. So great job there! I personally like your choices of pitched percussion in this piece - in my opinion the xylophone has too sharp of an attack and brings to mind Saint-Seans' usage in the Danse Macabre where it very effectively symbolizes the dancing of the skeletons and percussive effect of bones hitting the instrument instead of mallets. Vibraphone and glockenspiel are much more mellow and sparkly (respectively speaking) which I think is appropriate for this piece! Thanks for sharing!

Hey @MichaelJohn ! What a harmonically rich, bittersweet piece! It's full of longing and emotion and full of tons of creative harmonic choices. The harmonic identity also seems kind of ambiguous to me. The piece clearly starts in D minor and that's corroborated by the key signature, but you end in F major which is a nice hopeful ending! But I actually feel that most of the piece is in G Dorian. Very interesting - and you use plenty of F add4 chords which I really love the flavor of as a kind of backdoor cadence into G minor. Thanks for sharing this gem and I am grateful that you managed to create a good looking score as I really was able to appreciate the piece much more and deeply with the score. Thanks again!

Hey @MK_Piano ! This is a nice macabre movement. I find that you have a tendency (2:59) to imitate Beethoven's Moonlight Sonata accompaniment - I think you also did this in your Halloween piece. I also recognize the melody that's playing there - I could swear that it's a quote from another Beethoven work - possibly Symphony No.6? I don't know if that was intentional. My overall impression of the piece is that there's definitely identifiable main themes in it - some of them aren't original, and there's also lots of repetition by changing the instrumentation/orchestration of the occurrence of the themes. But I did enjoy listening to this grotesque and dark piece about death! Thanks for sharing!

Your charisma is noteworthy 😀 Also... I got a WWE Intercontinental championship belt from the last competition. Winner gets it... but ask Peter, he has it.

Happy Birthday Free Sheet Music by Anon for Piano/Keyboard | Noteflight Your piece sounds interesting from a preliminary perusal...one would need a gun to make me write variations on Happy Birthday!🤣

On my birthday, I will be in Poland, (again), so I decided to post this impro earlier! Allegro, Rondo. Adagio. Scherzo. Finale. 4 movements on Happy Birthday.mp3

But I am definitely in.

In what? We haven't decided what competition we're going to hold yet! LoL

Thanks for the tip!.

I'm in.

I'm glad you like it Oliver!

I am shocked that you said you are not an orchestration expert! You definitely are an expert for me with your ochestral works posted here! Henry

I am not an orchestration expert, so everything looks very fine to me and is well orchestrated. For the cymbals parts it’s best not to choose a decrescendo on an attack since the decay is already a naturally happening phenomenon. Other than that, I like how the brasses used throughout what you have provided.

I am starting to have ideas if this is the theme, a fantasy based off past indoor percussion shows I played

The Candy Box Album Part Of an Original 8-Trax Album-Series, created in 2000. A1.DARK CHERRY 1.mp3A2.FUDGE NOUGAT 2.mp3A3.CHAMPAGNE TRUFFLE 3.mp3A4.CARAMEL CRUNCH 4.mp3

@MK_Piano I am a pianist, I've played the intro for this piece, but I haven't gotten around to play the full thing, as I've only been playing for around a year, so it was a bit much for me.

Thanks for sharing! I have played this work for solo piano and it is one of my favorites to both perform and listen to. I do have some comments about a few things, both from the eyes of a pianist and a composer. However, it’ll be sometime before I can sit down and type it all out in detail. May I ask if you are also a pianist, or if you have played this work in some capacity?

Excellent Rendition............Just like the Real Thing.

liebestraume-no-3 un orchestra.pdfUploading Attachment... I know it's been done before, but I really wanted to try making an orchestral cover for this btw I'm aware that player and tempo markings are a lil weird here, mainly the lack of div. unsi. and player marks for the winds and brass at times, I just didn't bother writing that, as this isn't going to be preformed. feedback would be appreciated :P (unless you're gonna tell me the climax comes too soon, I KNOW) liebestraume-no-3 audio.mp3

I have a melodic sketch of the A section of the second movement, a sort of nocturne in 6/8, with more Mahler influences than Chopin! I'll post it when I get a bit more filled in. Here ya go; the A section. Long enough already! Piano Sonata in A Minor-2 Free Sheet Music by Robert C. Fox for Piano/Keyboard | Noteflight The middle section, one could call it a "Trio," is the next thing to tackle. All I know is that the melody will be a rhythmically disguised version of the first three measures, the intro. I'll get to it shortly, but sometimes it's better after finishing a section of a piece to let things ferment for a while. The great secret about writing music, on paper or with software, is that most composers, past or present, just make it up as they go along!

Thank you, Fruit Hunter, yes, I know most of my pieces are rather sparse compared to some of the epic stuff I hear many people making. But I have difficulty dealing with many instruments at the same time, so I tend to use a transparent sound, and then maybe try to use the colours of the various combinations instead. And i like to use harps and celeste to punctuate rhythms and transitions.

Wow, thanks Wieland, I wasn't very sure of what you had been talking about, but those are some very helpful notes you've put in there and it does help clarify what you mean (and also very meticulously well-presented)! Cross-staff beaming, yes, that's probably easier to read than main gauche and main droit text. Hmm. I usually do this sort of beaming with other works of mine so I wonder how I seem to have forgot with this piece. MuseScore 4 is being fussy with me for this and I might need to brute force adjustments to make sure I don't get overlapping stems, noteheads, beams, dynamics, and/or hairpins. I don't have Elaine Gould's Behind Bars but do you know what the convention is for whether to put the beam above or below the midpoint? Here I've gone for the side that has the majority of the notes but I don't know if that is standard: Thanks again for your help, and I do have to say this already looks possibly a bit neater than having m. g. and m. d. smeared across the page. I'm always trying to give my scores a clean and readable look so any feedback is always welcome.