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A piece I've had in my back pocket for a while, that I finally am posting because of Cantai. I wrote this piece because I was having a tough time connecting to poems, and after years of not writing for voice I wanted to just do something. So I wrote the words myself, as if it was for my fiancée. I love you.mp3 I love you.pdf

Thank you, ND. The saxophone was completely improvised. This whole song was improvised into creation. We recorded the sax first; just random, ugly, sounds that we were going to make music of, and also make beautiful somehow. Immanuel Wilkons Matte Glaze Is the current inspiration, and what I'm listening to. I also listen to Kamasi Washington, Patrick Bartley, and Emmet Cohen, among others. The track took over 14 years to make. It was first released as a single in 2014. The track began in 2010, then waited years for the rap artist to appear in my life. It was controversial for me. My family hated it; I became the Blacksheep, and everything you'd expect coming from a family that doesn't appreciate rap. It was primarily the reason why I made this song, so I wasn't leaving anything out. Oddly enough, when I released this song, several artists were boycotting their art because Obama was our president. It's a foolish thing to give up a precious gift for foolish reasons, and since - I have been producing rampantly to make sure that I'm not part of that. Anyway! This song describes the power of a really talented Sound Engineer, Andrew Uher. Working with him was amazing. We were both fresh out of college, with music degrees, and wanted to express further what we learned in music. I owe the mixing to him; he truly is a prodigy at his craft and knows his stuff, too! I invite you to really explore your colleague's talent and dedicate (this song really sat for years until completion) and believe in what you are doing in music. Keep at it!

it’s a good piece, but I have some suggestions about logistics and playability and all that stuff Octaves with harps I’m not a harvest. I’m pretty sure you may have to watch out if you’re going to be playing octave runs on one hand. Well, I have done with my competition piece. “ on pastel skies” that I have written for mallets with octave runs that are split in between hands as double verticals. So one hand would play the center note in the octave above in the left hand would play the center note in the octave below. just some stuff to watch out for. Also for cello’s and I don’t think so, but possibly for baritone as well you should use tenor clef rather than alto clef and also, I saw what you did with the implementation of the oboe d amore anyways, another thing I would point out is near the end with the pentatonic sounding thing was a little too loud. Honestly, this was good writing. You just chose the wrong dynamic. It would fit better more smooth at a forte or something a little lower melody 8.7 Harmony 6.8 Form and structure 7 Creativity 4.78 Engraving 6.5 Orchestration and playability 6 execution 8 Taste 7.5 average is 6.91 The reason why your creativity originality score is tanked is due to similar title with other scores in this competition and also simply putting the name of the competition as a title However, though you must acknowledge that your execution score, unless if some miraculous magic happened, would also get tanked if you tried thinking outside of the box so it’s kind of a sacrifice unless if you know what you absolutely are doing.

I see, i should start sharing more then, thank you for the advice!

Thank you for such kind words! However i like tuning the harpsichord very high because of a necessity of sound, in the case of soundfonts a higher tuning make them sound better for some reason. Plus is also a tad bit historical, because in regions around italy they generally used a higher pitch than usual. The so called "Venetian" pitch.

Thank you! It's not an aria, it's a famous child tune that is commonly played by begginer musicians!

This is so nice. The structure, concept, and mixing - all of these are high-level and creative. I really liked it. Did you make the saxophone line, or is it an improvisation? That sounds cool. Can I ask you what music you often listen to or are inspired by? If it's a bother, you don't need to answer it! Anyway, this is great work! Well done, amazing!

Hisaishi is a name that will come up in online circles every now and again and it is one to talk about! When it comes to studying his music and replicating it for ourselves, the first thing I would point out is the form. Even though Hisaishi's works can vary in form or length of form, the first time he presents a theme, he likes to use AABA form. I notice that in your version, you repeat the phrase twice, using a deceptive cadence to minor iv. If you were to continue it, then a modulation or tonicization of the dominant or relative major would be expected to the B-section. As you mentioned briefly, including variation is also warranted as a pure repeat can be a weaker approach. If not the melody, change the accompaniment pattern slightly or add an extra voice/ harmony in the right hand. So much to say in efforts to evolve this simple theme. Check out Alex Hepplemann on YouTube as he has a great series on Hisaishi and explaining how to write in that style. Also check out MomentsMusicaux on YouTube to see some excerpts of Hisaishi and their analysis.

Hello everyone! I composed today a really short waltz theme. I am practicing the "Merry-Go-Round" waltz from Joe Hisaishi at the piano and decided to use the initial harmony and melodic voice leading for composing a theme as an exercise (I used it only as an harmonic template and did not try to imitate the "Ghibli" sound). The first 7 measures use the exact same accompaniment and melodic voice leading. I tried experimenting a little bit with harmony, particularly in m.12~14 and m.28~30. I think the motive in m.2 might need to be notated with a trill (since I think it needs to sound more rubato and less rhythmic , but the trill in MuseScore sounds too bad so I notated like this). Hope you like it and any feedback is welcome! Thank you!

Sorry heres the pdf Homage no 1 .pdf

Hello I’m writing a series of short pieces for orchestra using ‘modern’ musical languages. I’m doing this because I enjoy it and to develop my skills in orchestration. I write them for piano first, but with orchestration already in mind. However, I don’t include the piano version. In this case, it’s a PC Set (postonal theory) consisting of just four notes, with the form (0125) corresponding to Forte 4-4. As an example, starting from C, it would be: C – C# – D – F. It is then treated in many different ways: horizontally, vertically, inverted, rotated, etc., etc.... The piece has been reviewed by an expert composer and orchestrator. Although, of course, there are a thousand things that could be said about it. SKETCH 4_4.mp3 SKETCH 4_4.pdf

Thank you so much for the award Peter, and Luis for nominating me. I'm very honoured! 😃

Can you nominate colleagues here? I’d love to see @Alex Weidmann recognised as ‘Outstanding Orchestrator’

This is my first composition, to be honest. I play the violin, and all of a sudden, I had this idea pop into my mind one day. I am willing to learn theory on my own; what should I start with? I find the chords very complicated; how do I harmonize without overloading the parts, what chords to use, etc. Thanks.

I would recommend not tuning the harpsichord to be so far out of keeping with modern concert pitch, as those of us with absolute pitch are likely to find it highly distracting, while those who do not possess the ability won't derive any advantage whatsoever from the peculiarity of tuning. Aside from that, I thought this was an excellent fugue, in spite of the fact that you say you wrote it as a joke. Most modern writers of counterpoint churn out music that sounds aimless and more or less random, whereas this feels goal-directed, as music should.

Homage no 1 pdf Hi I finally got the recording for my Violin and piano variations on Webern's op 7. It was performed by Duo Alma, who did a concert at UCR performing a bunch of music. Homage no 1.mp3

Thank you so much for sharing your recommendations, @Fruit hunter, @Nd 6829, @CrystalCanon, @jejrekmek, @Markus Boyd!! Thanks to you guys, this topic has gathered such a wide variety of music. I’ve discovered some wonderful music that I hadn't known before. Honestly, I’m really, really happy about it. I look forward to seeing even more types of music shared here. I’ll try suggesting a few pieces myself again :) McCoy Tyner - Fly With The Wind Thelonious Monk - Ugly Beauty Please feel free to share music :)

Grok.AI 시 Claude.AI 퇴고 라임이 ㅎㅎ 퇴고 라임이 곡 고난주간을 위한 신성가곡3 for Soprano and Orchestra 못 박힌 손으로 우릴 안으시고, 가시관 머리로 친구 삼으시니, 아버지의 영광과 사랑의 비밀을, 한점도 남김없이 우리에게 알게 하셨도다. 죄인이던 우리를 자녀와 죄안에 얽매인 우리에게, 아낌없이 모두 주셨도다. 존귀함 존엄함을 우리게 주시고, 생명과 은혜로 우리를 채우시니... 'Sacred songs3' With hands pierced by nails, He gathers us in His embrace; With His head crowned with thorns, He calls us His friends; The mystery of the Father’s glory and love, He has revealed to us in its fullness. Though we were sinners, He made us His children; Though bound by sin, He gave us everything without reserve. He granted us honor and dignity, And filled us with life and grace...

Ok, yes, indeed, this topic about mental illness is really controversial. And I basically don't talk about this, but this opportunity is gonna be good for me. I will pick some of them. One of them (Daddy, Stalaggh) is really, kind of... One of the only genres which I can't listen to a lot. And another one called "Everywhere At The End Od Time" is, honestly, amazing and I liked it; it's too long though. I hope this helps you! The Caretaker - Everywhere At The End Of Time Penderecki: Threnody for the Victims of Hiroshima I suppose you already know about Penderecki, though! KoRn - Daddy Stalaggh - Projekt Misanthropia I listened to your Andante for Strings and that was really good! I truly hope your mental condition is good, Peter. I feel I need to listen to some of your old works :) And I agree that this subject is a difficult topic. Grant Weep, creating this topic might be a bit controversial and require some courage, but thank you for doing so. Best, Lithl.

Uneven beat lengths are just fine to be conducted the way 7/8 is conducted - it's not a pain at all but the norm for irregular meters!

Hi Alex I’m here after having listened to Part 3 first. Sorry, I missed it, but anyway, it was well worth coming to listen. Congratulations on this piece. It’s beautiful. The delicacy with which you’ve handled this is tremendous. The work with the woodwinds in general, and especially in the first movement, is spectacular. I find it all very well balanced. I love the detailed score as well. I’ll be keeping an eye out for the other parts of this work you’re working on. I also really enjoy exploring and discovering these somewhat forgotten composers. Best regards.

Hi Luis, Many thanks for your lightning fast review! It would indeed be difficult for the vibraphonist to get round those big chords; but I think they are just about playable. A good vibraphonist can do incredible things with just four mallets! I did consider putting those passages in celesta, where the spread chords could more easily be accomplished. As it happens, Benjamin Britten was a student of Frank Bridge. (In fact he was Bridge's only composition student.) After Bridge died in 1941, he was largely forgotten about; until Britten led a revival of his music back in the 1960s or 70s. He seems to have been forgotten again now; though he does have a prolific canon of works. His piano pieces seem to be particularly well suited for orchestration, and they always come out sounding really nice. I posted the first movement of this suite here the other day, and am planning to orchestrate movements 2 and 4 next. Best, Alex

Hi everyone! :) This is my newest compostion, Open Horizons (in the sea...) The arrangment and performance is done with musescore 4 and musesounds pro. As i am still taking lessongs in music harmony, i do the orchestration by ear and intuition. I would like to hear reviews , opinions and orchestration remarks for the music piece. open horizons in the sea...a ship set sails under the morning sun and a new journey begins! Open Horizons (In the Sea).mp3 Open Horizons (In the Sea).pdf

Hi Alex, First of all, I’d like to say that I wasn’t familiar with this piece. Nor, I must confess, with this composer, although his name rang a bell. So I went on YouTube to listen to it and look at the score, and I absolutely loved it. This third movement in particular is so delicate… And it’s one of the trickiest parts to orchestrate. I really liked your orchestral arrangement and, to be honest, I’m not going to comment on anything in particular as I’m not in a position to assess it in such depth. I like the way the woodwinds unfold in bars 24, 25… the oboe mingling with the flutes, and so on… I just have one thing I’d like to learn. When the vibraphone comes in – which is a lovely element – how does it produce such big chords? I imagine it’s two mallets per hand… Best regards.

Hello I wasn’t familiar with this aria, so I’m not sure. But it’s very pleasant, and the counterpoint and fugue sound brilliant. What’s more, it’s in a tempo that I really like. When very ornate counterpoint is played at a very fast tempo, my brain can’t quite process it – haha, that’s just me.