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Thanks for your comments. I honestly don't know why I wrote this with the flute part on top. I suddenly was worried that all my other concerti were written this way as well, but I checked, and all the others were written correctly. So who knows? I consider myself a Classical Revivalist mostly, though I can and do write in other styles occasionally. As such, it has always been extremely important for me to be as authentic as possible, and I'm very glad that comes to the fore. I have my own personal style within Classicism, but my stuff is always going to smack a little of Mozart, Haydn, and early Beethoven (the latter of which I'm particularly attempting to emulate lately, with varying degrees of success). I was shooting for 1800 to 1810 as the specific pinpoint for much of this work, so it might not have seemed that groundbreaking during that later time frame, especially considering what Beethoven was doing, though I realize the 2nd movement especially sounds a bit earlier. As for scrolling score videos, Google an application called Bandicam. Shell out a few bucks for the full version, or your music might get covered with watermarks...it's not that expensive if I recall rightly. It's pretty easy to use.

I WILL listen to the whole thing, but some notes on the first movement, reactions...someone brought up that the solo instrument should be not on top but on top of the first violins: sometimes, depending on the type of manuscript paper you have, or the notation software you are using, the high first violin notes can get "tied up" with the lower soloist notes! I myself don't care about that particular convention, unless I had a concerto performed or published. I would consider myself a Neoclassical composer, but I could never be this authentic! I'll throw in a semi-atonal couple measures, just for fun. This is truly in style, and would have certainly made waves in late Eighteenth Century Vienna! In fact, it might have been seen as a groundbreaking flute concerto. Your counterpoint is very nice, but you keep things simple and direct. Wish I knew how to do a scrolling-score video on YouTube! I am absolutely helpless at anything like that: the only thing I can do well on a computer is finding practically anything (decent) on the internet. Keep up the good work!

Wow! I drop this here and look away for a moment (or several weeks), and y'all bless me with an embarrassment of riches in your comments! I'm so sorry I'm just now getting around to replying, but I've been a bit unwell. I suffer from Bipolar Disorder Type 2, which causes dramatic mood swings fairly frequently (I also have ADHD, but that's another story), and over the last couple of months I've been having a lot more bad days than good...some days I have trouble even getting out of bed, which is a pretty serious depression. I saw my physician recently, and he adjusted my medications, so I'm hoping to feel better more often soon. Today happens to be an exceptionally good day by recent standards, thank God. Thank you very kindly to all who listened and commented. I'm going to try to reply to various points and specific questions in these posts in the order they came below. I appreciate your complimenting the orchestration. I've never studied orchestration formally, I just put down what I hear in my head pretty much. Are you an oboist? Just guessing from your user name. I should probably post my oboe concerto and see what you (and others) think. Ah yes! That secondary theme is one of my favourite moments in the whole movement too...and you mentioning it gave you a similar feeling to Beethoven makes my heart flutter! 🙂 Oh my God! 😞 I had no idea! I suppose I've never actually looked at a score for a concerto. Thanks for bringing this to my attention. Thanks! I'd love that too. There is a chamber orchestra in Wichita that performed my 9th Symphony a couple of years ago, I've thought of showing the score to their director to see what he thinks of it, and if he'd like to program. It of course calls for a first-rate flautist, but maybe he's got one in his back pocket. I'm going to take your suggestion and leave this piece just as is. Was it Beethoven who retorted, "it wasn't written for you" when someone complained that his work was unplayable? Everything is unplayable until some intrepid soul plays it. So, you liked my Polonaise eh! I'm very gratified. It still brings up the hairs on the back of my neck, especially the ending. I've written a number of Polonaise insertions in various movements of my work, but this is the first time, I'm pretty sure, that I made a whole movement out of one. It's so grand and expansive. I did some research online to see how the dance was actually done, and it's wonderful! I read somewhere that in Europe, and especially in Russia (and Poland I'm sure), the Polonaise was the first dance played, to give everyone the opportunity to show off their fabulous clothes. And yes, it was me who wrote that my favourite National Anthem is that of Poland, which amazingly enough is a Mazurka. I've written a stand-alone Mazurka as well, for strings, as part of my Sundry Dances collection. By all means, give your vision of blending the US and Polish National Anthems a try. They share the same metre, which is part of the puzzle solved already. Thank you! What inspired the piece? Nothing in particular. I was driving to my friend's house one day, and I came up with the idea for the opening theme out of thin air. it happens a lot like that to me. When I got home, I plugged it into Finale, and in a few hours, I had the orchestra introduction finished. I'm almost ashamed to say that I've never read an orchestration book. I taught myself orchestration, basically by writing down what I hear in my head...if I don't hear something in my head, but Finale playback sounds like something is missing, it's trial and error to find it out, but most of the time I hear things more or less fully formed in my head. I'm more like Mozart and less like Beethoven that way, though these days I'm trying to emulate early Beethoven more. Someone else here recommended Nicolai Rimsky-Korsakov's book, which I have been told is excellent. Hector Berlioz also wrote a "Treatise on Instrumentation" that I gather may even go even further afield, being that he was an extremely experimental composer for his time. Good luck! I didn't used to be a big fan of concerti either. It took me a long time to finally write a whole one (my Horn Concerto in E-flat of 2014). There are so many really great concerti that for a long time i just didn't feel like I had anything in particular to add to the pile. But my feelings have changed, and now I have several other concerti planned, though not started yet. I really want to write concerti for piano, violin, and 'cello. Thanks for your compliments and comments on all three of the movements. I'm so glad this piece made you feel "right at home!" And thanks for sharing this piece with your friends! By all means, if you'd like, subscribe to my YouTube page...I have literally hundreds of scrolling-score videos of almost all of my music that I consider worth sharing there. I can always use more subscribers. 🙂 I use an application call Bandicam. It's pretty easy to use. I recommend paying a few bucks to buy the full version of the software, or you'll have watermarks all over your music. Just set the area of the screen containing your score (in scrolling mode, preferably, if available on your notation software...I use Finale, for now anyway), hit F12 to start recording, then hit play in your notation software, and voila! When the piece is done, hit F12 again, and recording stops. The output is an MP4 file, uploadable to YouTube, and a WAV file. Hope that helps. Dear God, it's 4:17AM Central Daylight Time and I'm just now wrapping this up. Thanks again all of your for you kindness and generosity of spirit! All best!

Dear friends, hello! I'm Zhang Wenhao, a singer from China. This time, I'd like to share with you a mysterious, magical and ethereal Western Celtic music piece. The name of this song is "The Tree Spirit Dancing Alone Under The Moon". This song tells the story of a tree that keeps dancing under the moon to achieve its goal. During this process, it is utilized by humans, but after a long period of time, a turning point comes. I hope through this song, we can express an attitude towards life: On the way to achieving our goals, we will encounter many hardships and face various uncertainties. But please still persistently strive towards our goals, and one day a turning point will come. 亲爱的朋友们，你们好，我是来自中国的创作歌手张文灏。这次来跟大家分享的是一首神秘、魔幻、空灵的西欧凯尔特音乐作品，名字叫《月下独舞的树灵》。 这首歌讲的是一棵树不停地在月下起舞来完成目标，在这个过程中被人类利用，但经过漫长的岁月后又迎来转机的故事。希望通过这首歌，来表达人生的一种态度：我们在完成目标的路上，会经历很多磨难，会充满各种各样的变数，但请依然坚持不懈地努力朝着目标前进，终有一天会迎来转机。 歌词如下/The lyrics are as follows： 《月下独舞的树灵》/《The Tree Spirit Dancing Alone Under The Moon》 作曲/Composed by：张文灏 Zhang Wenhao 作词/Lyrics by：张文灏 Zhang Wenhao 这片荒土 曾经有两族 一朝 人类入侵 树族战败 仅存的古树 夜夜都会舞起来 以此复活战死被伐的同伴 她心里依然回荡着树族的召唤 “快起舞吧 我们就要活过来” 她心里微弱的希望从未熄灭般 像神庙丛生的灯心草的微光 “树长了生枝开叶了 他们要回来了” 她高兴地叫 奋力地跳 身姿随风轻摆荡 光秃的树桩泛着 幽绿色的 树族光环 在草侍和花仆簇拥下生长 她纯净的心猜不透 人类有多肮脏 树桩夜夜长 又被砍倒 从未有树活过来 不知真相的古树 被做成了 收费景观 她起舞只是人类谋利手段 她心里依然回荡着树族的召唤 “快起舞吧 我们就要活过来” 她心里微弱的希望从未熄灭般 像神庙丛生的灯心草的微光 漫长的岁月后 她已是枯藤苍苍 叶落中她 仿佛等来久违的同伴 鸢尾花的吟唱 伴随着奇异果香 在枯萎的夜中她停止了舞蹈

It helped me too now!

Beast of a piece, let me know what you all think!

Hi Lisa! Piotr is our admin here and welcome to our forum! Henry

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?