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@FILMSCORE Thank you very much for your messages! I am teaching piano at the moment, but I have to be honnest... right now I'm not sure where composition is going to lead me. I don't think I want to work in the film industry but never say never! Have a great day Jonathan

@Henry Ng Tsz Kiu Thank you very much for your nice comment! I understand why many parts feel all new from a listener perspective and that is something I have to work on. From my perspective they are not and I can provide a very short analyse. The introduction motive at bar 1 with the strings is the same that start the first cellos solo which is then reused in the fanfare theme. It is reused in some other places but sometime transformed a little bit. At B you have the main theme that you can hear until the clarinet solo. The idea of the introduction is repeated in the begining of G, which then lead to a longer lyrical section at H, which is reminescent of the first cello solo of the piece, altough pretty different I concede! Then this lead to another fanfare section where the brass reuse the same motive from the initial fanfare and the strings have a mix of this motive and the main theme. This lead to the real return of the main theme at J, which is pretty similar to B. For the rest of the piece you can hear these two motives almost everywhere but again it is not striking I concede. F section, as well as the bass clarinet solo, are based on the melodic material from the transition b.38-43. (Sorry for this long message I hope you were not too bored by this analyse... 😅)! Thanks again and have a great day Jonathan

Definitely. That's important too. i think I was suggesting more that if a composer matches your preferences and listening expectations because they truly resonate with you and that's just the music they compose when they're focusing on what's beautiful for them, this would lead to a more satisfying experience of both composing and listening than if the composer was putting aside what they find beautiful in order to specifically meet your expectations. I suspect there's not a lot of difference between what we're both saying.

Yeah. Well thats a big big philosophical difference. While I certainly regard music (at its best) as a form of self expression, there is a tremendous amount of theory and historical experience to learn and draw from. Or not. Myself, I've never regarded music as anything less than a shared communication between composer/musicans and an audience -- I have expectations and likes/dislikes when I select/listen to music. I only assume others are the same. So, while as a practical matter I write for myself, I would like to think I am communing with this vast spring of muscial history and ideas to the extent that I strive to understand and learn from it. Does it make me uncomfortable? Absolutely. But I can attest that in the uneasiness, the growth happens.

What a delightful piece! I especially like your oboe melody in bars 30-35, and the false ending on page 12. The alternation between arco and pizz in the strings is nice too.

https://en.wikipedia.org/wiki/Bachelor_of_Music "FAILING 2 PLAN...is PLANNING 2 FAIL" So Johnathan, where do you go from here ? , have you any future goals,dreams,ambitions ? Where do you see yourself in 5-10 years time ? Executive producers/Film&TV Directors/ Script-Consultants, within the Industry are always looking for Music-Degree-Qualified composers,that Bring Immence value to there Cinematic Film productions. If you play your cards right, Your "Bachelor of Music" Academic-Degree, could lead you to a Very Lucrative Future. Either way i wish you Luck.........................

Hi!!! This a different post from the usual, I trieed making collage art and I kinda liked so I decided to translate it to music! Its my first time writing incidental music but I believe I achieved the mood I wanted to express!!! https://drive.google.com/file/d/1NKk3dLrDa8q4Rh_rVZ-36o9bmbVITTU3/view?usp=drive_link

hahahahahaha. I am much used to A-R-J-U-N-A motif now as I'm composing Arjuna's @expert21 Violin Sonata now, first 3 movements completed and working on the last movement of variation! Henry

Hi @cloud10000! To be honest I enjoy this much more than your previous microtonal pieces! Also, given the slightly out of tuned Japanese instrument microtones can still be found there! I always have some likings in Japanese music, though not familiar with it at all. Really like this, thx for sharing and teaching some Japanese music knowledge! Henry

Hi @jejrekmek! Nice guitar piece my man. I don't know much about guitar playing, maybe my boi @Thatguy v2.0 will know it much more, but I really enjoy your playing and composition. Although those sound effects in 2:30 quite scare my shit out tbh! Nice ending with your(?) singing! Henry

Hi @Alant! I listen to your revised version with your real performance. The first section really reminds me of Liszt Consolation plus Schubert op.90 no.3 plus Chopin op.25 no.1. I love how you change the texture and accompaniments for varities, at the same time maintaining the simplicity of the music. Lovely music and lovely playing as well! Thx for sharing and your updates! Henry

Hey @Mooravioli, I relisten to your waltz and man there's so many bittersweet moment here. The opening LH figure reminds me of the 2nd mov of Chopin's 2nd Piano Sonata. Very nice change of register in b.83! Like the improvisation at the end too! Thx for your update! Henry

Hey Pabio, Out of the meaingless drama, let's move on to the music itself: I enjoy this one thoroughly Pabio! I feel like you are really allowing yourself to express yourself fully here. The most lovely thing is that you still maintain your control of counterpoint and you are really using those counterpoint for great emotional effect here. All the dissonances are so well handled and I love all those Mahlerian dissonances, and to be honest your prelude here really reminds me some of the first movement of Beethoven's mop.131 with the sadness and tragedy you portray here, It also reminds me Ivan's great prelude posted not long ago: Thx for sharing this great expression! Henry

Hello @Jonathanm! Welcome to the forum! I really really love your modulation in b.8, so beautiful!!! I love b.9-15 too, and also the A section itself, however I think the transition from the serene passage before it can be longer and more well-prepared. Again I love your modulation to Ab major in 1:53! I love your transition to section D, very well done, and the bass clarinet is greatly used there! I love your cor anglais in section E too, and also when the flute join and after that the strings!! The all strings passage after feel so warm to me. B.90 passage is wonderful with the harp and the texture is very rich. The cello melody plus flute countermelody in section H sounds fascinating as well, and I absolutely love the b.133 passage after it! The climax to J section is really well prepared here! And a lovely peaceful ending! Your ochestral and harmonic colour is really really well done, congrats on that!! I really love how you allocate melodies to different instruments for their own timbre. Maybe for me the only shortcoming would be the coherence, since I feel like the whole piece is beautiful but the ideas are all new in each section for me. Nonetheless, this piece is very well done and enjoyable, congrats on that! Henry

Hi @user011235! I like the classical style sonatina, very Mozartean. I love the energy in it. For it I would probably stay long in a single key in the development section like you did here, as the music lingers in Bb minor b.21-47, almost the same length as the repeated exposition! I would probably keep modulating for more harmonic moving forward. The 12th interval in the LH of b.31 would be too big for pianist to be played together. I would also prevent the augmented seconds such as in b.35, since it sounds a bit weird under a classical style sonantina personally haha. The retransition in b.54 is quite short for me as well for a dominant preparation back to Eb major tonic! Despite being nitpicky I like this. Thx for sharing! Henry

He was also criticized for not writing very well/idiomatically for voices. Critics said that he wrote for voices as if they were instruments. Probably accounts for why he only had one opera!

SU-PAR Let me be one of the 1st to congratulate you on a MOVIE-SOUND compostion...............Well done Johnathan. "Bachelor in music"................. My God , you must be extremely Intelligent........that's something i could never achieve.

Another piece from 2018, in a style that... well, i'm not really sure. It's got bits that sound classical, bits that sound romantic, and to me some portions even sound more modern like new age, folk or pop. I wrote it in 4 days so everything kind of just flowed. What do y'all think? Any feedback is welcome

Lmao! Your own B-A-C-H motif, perhaps? 🤔

That's what would make it fun for teachers to inflict it on their students. 🙂

@Henry Ng Tsz Kiu @PeterthePapercomPoser Thanks you guys, that's helpful to hear. Peter i didn't know that about beethoven! Wow even he had insecurities

Yeah Thinking functions are the weakest for INFP so it would be really to build up theories for you guys, unless your mind tell you you must learn those theories or you love them, then you would really learn them well! Given the secondary Extraverted intuition keep exploring new music and getting insights by brainstorming would really help you find your fav. theory learning method! Btw. I guess there are a lots of INFPs on the forum as well! Henry

Haha thx! Tho here it repeats more than usual for humorous effect, as a joke told more times it should it becomes a lame joke!😛 Henry

Excellent! Needs to be given to beginning music students so they can learn to follow repeats. 🙂

Hi everyone, I composed this piece as part of my bachelor in music. I hope you enjoy it. Leave a like or a feedback if you want! 😊