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Yes, I have looked at many Schubert songs in 38 years, but not all 600 of course.

Another important aspect is the voice leading. Notice how, in Schubert, the accompanying chords move very little. And of course, I would continue to explore those poems....

Obviously, if I were to set a couple more Keats poems, and have say a set of three, I can assure you that the other two songs will not have the same block chord texture!

es, there are plenty of examples. Apart from the dynamics—well, sometimes the software does the best it can—there’s a significant difference. In Schubert, the melody follows its own rhythm, independent of the fixed rhythm of the accompaniment. But anyway, everyone should write however they like.

Schumann - Ich grolle nicht, Op. 48 - 7 (Dietrich Fischer-Dieskau)

Perhaps you haven’t quite understood what I meant. Piano writing is based entirely on vertical chords. That way of using the instrument fails to make the most of its polyphonic possibilities, and is even less appropriate in the Romantic style or any modern derivative of it. Yes, of course there are moments and compositions that use block chords on the piano, but this is for expressive purposes and in other styles (Impressionism, contemporary).

Melodies Themes Motives Harmony Chords Textures Form Development Structure Time Originality Creativity Score Presentation Instrumentation Orchestration Playability Execution of Given Challenge Taste 6.5 6.5 7 7 4 4 6.5 7 Average Score: 6 Review: Melodies/Themes/Motives - The melody is lovely; much of the piece is structured as a melody with accompaniment. Given its length, one would expect a little more development of the motifs so that it doesn’t sound too flat.. Harmony/Chords/Textures - The harmony is beautiful and has a certain modal quality. I would also have expected some kind of modulation or other change, particularly given the repetition of the motif. Form/Development/Structure/Time - The piece appears to be in ABA form. Originality/Creativity - The original touch is choosing the viola as the solo instrument. Score Presentation - The score is confusing due to the constant crossing of voices and the choice of certain clefs for the staves, etc.. Instrumentation/Orchestration/Playability Multiple stop orders are placed without considering whether or not they might actually be executed. It also exceeds the number of instruments that are supposed to be used. Execution of Given Challenge - As for the atmosphere it creates, I think it’s just right, but when it comes to the technical aspects, not so much.. Taste - Nice.

Melodies Themes Motives Harmony Chords Textures Form Development Structure Time Originality Creativity Score Presentation Instrumentation Orchestration Playability Execution of Given Challenge Taste 8 6.5 8 9 7.5 6.5 8 8 Average Score: 7.6 Review: Melodies/Themes/Motives - The piece is rich in melodies and interwoven motifs. Harmony/Chords/Textures - The polyphonic texture is consistent. I think it would have been better if the three instruments hadn’t been playing all the time. Form/Development/Structure/Time - I think the structure is fine, and the length too; I prefer shorter pieces. Originality/Creativity - Of course, the choice of these chimes—which sound familiar yet are different—is a key point. I also think that oriental sound has been recreated very well. Score Presentation - The score is correct and easy to read. Instrumentation/Orchestration/Playability In this respect, I think the dynamics and accents are missing, which makes it sound a bit flat. It would have been nice to have a brief explanation of what each instrument is. Execution of Given Challenge - I think the author has succeeded in achieving his aim. Taste - Although I think it would sound better with those instructions, I like this piece because of its exotic character.

Melodies Themes Motives Harmony Chords Textures Form Development Structure Time Originality Creativity Score Presentation Instrumentation Orchestration Playability Execution of Given Challenge Taste - - - - - - - - Average Score: No calification Review: The truth is, I don’t think this piece can really be judged, as it’s always being compared to others in some way, and a certain minimum standard is expected. And I’m not so much referring to creativity, which is evident at times. There’s a certain rhythmic pattern, a few clichéd lines. But overall, it lacks coherence and the score defies all logic.

Melodies Themes Motives Harmony Chords Textures Form Development Structure Time Originality Creativity Score Presentation Instrumentation Orchestration Playability Execution of Given Challenge Taste 7.5 8 8 8 8 8 8 7 Average Score: 7.8 Review: Melodies/Themes/Motives - The motifs are pleasant, although one in particular dominates the entire piece and could perhaps have been explored or varied a little more. However, in the second movement there seems to be more variation, and the result is effective and satisfying. Harmony/Chords/Textures - The harmony is straightforward and seamless; it comes across as complete even when carried by horizontal melodic lines, which is a real plus. The texture is very clean. Form/Development/Structure/Time - Good. Originality/Creativity - The combination is very well balanced, featuring a bass instrument, a polyphonic instrument and a melodic instrument. All three have a melancholic character. It is a classic combination within a post-Romantic or Impressionist context. Score Presentation - There were a few moments that could have been improved, such as the bassoon’s entry in that very high register, by using the tenor clef. Instrumentation/Orchestration/Playability Here, once again, there are a few moments where I think it’s worth reviewing the characteristics of the instruments. The bassoon’s entry in that very high register will be quite difficult to play at mp (mezzo-piano). The same goes for the flute; in those registers, it either sounds forte…. Execution of Given Challenge - I think the composition captures it very well. Taste - It’s not surprising, but it’s entirely appropriate and pleasant.

Melodies Themes Motives Harmony Chords Textures Form Development Structure Time Originality Creativity Score Presentation Instrumentation Orchestration Playability Execution of Given Challenge Taste 7.5 8 8 10 9 9 8 8 Average Score: 8.4 Review: Melodies/Themes/Motives - There is a wealth of rhythmic and melodic motifs. The truth is that the piece unfolds with absolute ease, without any abrupt breaks or clumsy transitions. Harmony/Chords/Textures - The textures are really well done; I particularly like the fact that the sound never feels overloaded, even with so many instruments. Form/Development/Structure/Time - The overall structure has a somewhat rhapsodic feel to it. Yet it feels like a self-contained entity that needs no explanation. Originality/Creativity - The sheer array of tuned and untuned, traditional and invented or improvised percussion instruments is fantastic, and is utilised with great flair and skill. Score Presentation - The score is very well written, easy to follow and a pleasure to look at as a whole. Instrumentation/Orchestration/Playability As for the instrumentation, this has already been discussed. The orchestration is excellent; although one might think that a large ensemble of percussion instruments would be unable to carry off something of this nature, that is not the case here. The timbres blend and unfold, and there is scope for melodic accents to emerge from the rhythmic foundation. I’m no expert on percussion, but judging by the way the score is arranged, it seems clear that each section can be played by a single musician. Execution of Given Challenge - The description of the “soundscape” is a real bonus. And I think the composition captures it very well. Taste - I quite like the piece. I’ve always been fascinated by percussive works, ever since John Cage… provided they convey something to me.

Sorry, I am currently entering the ratings for everyone who has taken part so far.

Melodies Themes Motives Harmony Chords Textures Form Development Structure Time Originality Creativity Score Presentation Instrumentation Orchestration Playability Execution of Given Challenge Taste 8 9 8 9 9 9 9 10 Average Score: 8.8 Review: Melodies/Themes/Motives - Rather than melodies, what I perceive are sound structures that follow one another and sometimes echo one another. It’s an approach reminiscent of the work of the great John Cage. Harmony/Chords/Textures - In this respect, I think the piece is outstanding. The textures are very rich; at times they are homophonic, or almost so, whilst at others they take on a polyphonic character, with transitions that feel very natural. The combination of harmonics with more basic sounds is also very effective. At times, it feels as though the soul of the piece is breaking free and soaring... Form/Development/Structure/Time - I think the length is just right for conveying what it sets out to do. I believe that, once again drawing inspiration from those composers who created their own forms, the piece is a format in its own right that unfolds primarily through its textures. Originality/Creativity - It is truly creative thanks to the originality of its form, the judicious use of harmonics (which reveals a clear understanding of the subject) and the freedom with which it unfolds – all of which, I feel, capture this landscape very well. Score Presentation - The score is understated, yet very precise, clear and elegant. Instrumentation/Orchestration/Playability The string quartet is well suited to the requirements. The piece does not display any great apparent virtuosity, although the execution of natural and artificial harmonics requires a certain degree of mastery. Execution of Given Challenge – It fully meets expectations in terms of duration, the spirit of the challenge and implementation. Taste - It’s exactly the sort of piece I like. I love its originality and freedom of expression; the virtual sound is excellent, the presentation of the score is flawless, and the use of techniques such as harmonics is incredibly fluid. And I find it quite moving.

Melodies Themes Motives Harmony Chords Textures Form Development Structure Time Originality Creativity Score Presentation Instrumentation Orchestration Playability Execution of Given Challenge Taste 8 7 9 8 8.5 9 8 8 Average Score: 8.2 Review: Melodies/Themes/Motives - The piece makes effective use of motifs. On the one hand, there is a recognizable melody; on the other, the motifs intertwine among the voices, as this style requires. The melodies are sufficiently expansive and musical. The inclusion of the galliard adds variety. Harmony/Chords/Textures - The texture oscillates between heterophony and uncluttered polyphony. It is well suited to the sound. This texture serves as a unifying thread throughout the entire piece. One might expect something more contrapuntal from this period. The harmony is straightforward, with no changes or surprises. Form/Development/Structure/Time - The structure is very well defined, with appropriate repetitions, a contrasting middle section, and a recapitulation at the end. Originality/Creativity - The piece is highly original, as it draws on a Renaissance style and evokes a rural, bucolic atmosphere that seems to call out to that beautiful landscape. When we think of the concept of a soundscape, we often expect works with a contemporary or minimalist style. Here, I found that to be a positive aspect. Score Presentation - The score is beautifully presented. There are no indications of articulation or dynamics, which is quite consistent with the style. However, since instruments from that period are not used, it might have been enhanced with such elements. Instrumentation/Orchestration/Playability I had to look up what a sackbut is. I see it’s a predecessor of the trombone. Although the instruments blend together quite well, perhaps the score should specify which actual instruments are being played. The piece sounds sufficiently “human.” Execution of Given Challenge - I think the challenge has been successfully met. Perhaps a slightly more detailed description of what was intended would be helpful. Taste - I really like this piece, since I'm very curious about Renaissance music—and earlier periods as well—and I've delved into it a bit as a foundation for understanding what came later.

Just a simple piano romance for my girlfriend Julia (for her birthday). Thanks for listening and I hope you enjoy and let me know what you think! A Romance.mp3 A Romance.pdf

Another double fugue superimposing two fugues from the Well-Tempered Clavier.

Thank you for your response. I guess I should first verify whether I can write music that appeals to a wide audience haha. Once again, I sincerely appreciate your very thoughtful reply. I almost feel sorry that my words of gratitude are so short.

There is one other option I forgot to mention, which would be lighter on the business/personality requirements. Library music composition. What that is, is that you compose for a company who licenses music out to television and advertising. So you write an album of music, they get the distribution rights and you get the writer's share for royalties. Some of these companies, like Atom Music Audio, Warner-Chappell etc. provide a lot of music to things like commercials, trailers, TV spots for shows, reality TV, etc. Competition is fierce and there are never any guarantees that your music will get placed in anything, however, a number of composers do make a decent living after years of building up a collection of albums and licensed tracks. How this works depends on whether you're writing for a European company or American one. In America, companies like Warner-Chappell will pay you an upfront amount of money for the album. This is very often 10s of thousands of dollars. HOWEVER, the trade off is that these companies do not offer you any amount of the license fee when some company licenses a track. You do, however get your writer's share of royalties when it airs. So pros: Upfront money can be enough to live on. You still get royalties until the day you die as long as your music is airing somewhere in the world. Cons: Licensing fees, especially if a track is for a big movie trailer or something, can be worth anywhere from tens of thousands to even millions of dollars in the very best cases. You don't get a dime from that. Plus, a few types of placements don't count as a "public performance" and don't have to pay any royalties, such as movie trailers that don't air on TV. European companies offer a different deal and my understanding is this deal is legally-mandated in many countries. Usually, there is no upfront money, but it is the case that you not only get your writer's share from royalties, but also 50% of licensing fees. So if you had a track that they licensed out for a lot of money, half that is yours. This means that you can potentially make more money if you release albums with a European library, BUT as they tend to have little to no financial skin in the game, they don't really have any incentive on their end to aggressively pitch your music. So this could be another option for you if you just want to focus on composing and not have to worry really about networking and deadlines. However, you have to be able to deliver professional quality, broadcast-ready mockups or recordings, and the tradeoff there is that you have little control over your own career; it's a roll of the dice. With enough albums you could make good money or nothing at all, but it is less involved than being a dedicated film composer and doesn't really involve much risk.

Please remember the deadline is soon! :)

Thank you all very much for taking the time to respond so thoughtfully. I was not fully aware that, as a professional concert composer, it is extremely difficult to sustain a full-time composing career with only mediocre skills. Considering my strong preference for stability, I also came to realize that game music is not a field that suits me well. I would like to be honest about myself: I am not particularly strong at understanding films subjectively or independently, without discussion or exchange of ideas with others. I also have very pronounced weaknesses as a businessman. In particular, the likelihood that I could personally meet directors, producers, and editors, build relationships with them, attend film festivals, and form genuine collaborative partnerships is almost nonexistent. In addition, my knowledge of orchestration is extremely limited, especially when it comes to balance-related issues. On top of that, I had not fully anticipated that the time given to write an entire film score could be as short as two or three months. When I reflect on these points, it seems clear to me that all of the accompanying factors—the lifestyle, personality requirements, and workload—are fundamentally misaligned with my own disposition. I am currently in my thirties, and I realistically believe that there is very little room for me to meaningfully overcome these weaknesses at this stage. Your response has been extremely helpful in guiding my decision, and I am sincerely grateful for your honesty and insight. Thank you very much.

Well, I am a composer, professionally for films. Used to do games the better part of 20 years ago, now I am currently working on films that will be doing festival tours in North America this year before going to streaming and such. Some of my current projects have actors from TV series like "Billy The Kid", "The Last of Us", and more as well as Emmy-winning special effects teams who have worked on films like "Sonic The Hedgehog" and "Child's Play". The reason I preface with that is to say: I don't have the career of John Williams (yet), but I'm not entirely a nobody either, so I am probably qualified enough to give you some honest advice and feedback. I could write you an entire essay, but I will try to keep this as short as possible: Firstly, if you want to be a professional concert composer, then no matter how good you are, that is extremely rare in today's world and to be honest: It kind of always has been. Historically, most works were commissioned by the church, aristocracy, etc. for some reason or another. So, if you were aspiring to simply write music for live performance or albums of orchestral music and make a living on that...I'm sorry to say the odds are astronomically small. Some will suggest you compose for video games, but speaking from experience only a handful of composers have that entire industry locked down. Getting a job that pays ANYTHING in video games is hard to come, the games take years to develop now, everything is a buyout deal, cancellations of entire projects are normal, and this all translates into relatively low annual income even on "AAA" games. Where the real money is in being a composer today, and for the last 40 or so years, is in television and film. Especially long-tail income in the form of royalties and licensing fees that accumulate over decades. Now, to the meat of your question: My brutally-honest answer based on the piece you have shared is "No". If you wanted to compose for films, especially if you have no DAW or MIDI mockup skills, I'm sorry to say it would not cut the mustard for even lower-level indie shorts. Very few musicians to be honest have what it takes to be a film composer, even a middling one. There is a massive list of skills, that take decades to build up, just regarding music and its production before one could confidently score a film. I can honestly say that even 8 years ago, I don't think I would've made much of a film composer, and I had already been writing music for bands or games for years by that point. Not only must you be able to write memorable themes, which this piece does not demonstrate, but you must have a thorough knowledge of orchestration, mixing, MIDI mockups and recording; advanced composition theory that involves: counterpoint, various unusual scales and harmonic progressions that are not typically found in popular music (or even a lot of older orchestral music for that matter), experience with synthesizers, creating realistic mockups, structure that works with a clear emotional arc, writing effective short pieces, writing effective long-form pieces, etc. And this is before we even get into: You have to understand how all these musical devices can relate to linear story-telling and emotion. You have to understand "film" at least as much as you understand "music". There's "composing music" and then there is "composing music that tells a story". You also must be able to be an effective business man. You have to get out there and make friends with directors, producers and editors. Attend festivals and build genuine working relationships with people and be very easy to work with. 99% of composers stumble big time on this one. And one of the hardest things of all is that you have to be extremely-reliable. On a film, and god knows on a TV show, you do not have time for things like writer's block. You need to know theory, composition, orchestration etc. like the back of your hand to be able to write on average 2 minutes of finished music per day to get the job done on time. Not being on time on a film or TV show would be absolutely catastrophic for that studio and I'm not joking when I say that being late would ruin your entire career and cost people potentially millions of dollars. Now bear in mind, on a film you might have just two or three months to write the score. On a TV show a matter of days or weeks per episode. You must be absolutely certain you could deliver on that. The composer is often the very last major person involved with a film aside from the sound mixer and maybe colorist. It is generally the case that the score has been recorded and finished just weeks before a film hits theaters. It is for all of the aforementioned reasons that age 44 is considered "young" to be working as a professional composer in film and tv. Studios and directors are placing an enormous amount of trust on the composer. So most film composers started composing at very young ages, and spent decades in music, honing their craft, making connections and essentially "proving" themselves before anyone trusts them enough to score a film and pay them good money to do it. John Williams, the most successful and iconic film composer (and probably just composer of the 20th century tbh) was already just about 50 years old when he did Jaws and Star Wars. So unfortunately, in the most profitable avenues that I am aware of for being a composer, I don't think you presently have the skills, musically, yet. That is of course fixable, but what you must ask yourself is if everything else that goes with it is something you can do and your personality is a good fit for. Another thing is, I'm not sure how old you are right now, but age is also a factor. Deciding you want to become a professional composer in your 20s is more practical than starting in your mid 30s, for example. Hope this has been of some help. Good luck.

This fugue consists of two fugues from the Well-Tempered Clavier by J. S. Bach played simultaneously under transposition and augmentation. The fugues were performed by Kimiko Ishizaka and superimposed over each other by me.

Well, I didn't have any intention of making it "idiomatic." I just read the poem, liked it, and set it!🙃

I’m trying out this software that ‘sings’, and perhaps it’s time to get started on a composition I’ve wanted to write for a long time. This is a test to see how the orchestra (with its rather unconventional choice of instruments and sections) fits in with the harmonic system I’ve used, the vocals, and the mix of English and Latin. Is it worth it? Preludio.mp3 Preludio.pdf

That sounds lovely. And well-balanced. I think that in a chamber music setting like this, the double basses can have their own independence at certain moments and in certain phrases. That’s how the great Romantic (or post-Romantic) composers did it.