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Hiiii! I'm writing a new piece trying to understand scriabin's works and style! As this style turned out being really hard to mimick, i wanted to share the first bars (that settle the atmosphere and style of the whole piece) before continuing. There are parts i still need to fix, like bars 5 and 6, that ara just "meh" and feel a bit out of place. What do you think???

I made these 8 mock-ups on 8 themes from Final Fantasy VI intending to use them to familiarize myself with the themes in preparation for writing a big variations piece based on them. At first, I only intended to write variations on the "Returner's Theme" but it soon ballooned out of control as I noticed how many of the themes in the game are inter-related thematically and so I had to include more. I am posting the themes here with PDF scores for your perusal in the order in which they appear in the game. Also, here are the links to the original tracks on YouTube: Terra's Theme - Terra is the main protagonist in the game. A half magical being (esper) half human. The empire takes advantage of her. Fight Theme Kefka's Theme - Kefka is the evil antagonist who overthrows the emperor to gain ultimate power and lead the world into ruin. Mt. Kolts Returner's March - The Returner's are an organization that is trying to resist the evil empire and Kefka and Emperor Gestahl. Martial Law - plays in town when the empire occupies it. Magitec Factory - In the Imperial capitol of Vector, the empire has constructed a factory to create Magitec armor granting magic power to those wielding it. The Gestahl Empire To go to the thread where I wrote my own original music based on these themes go here:

Fixed a major error in the program's functioning. Here's a piece to illustrate. It has several voices moving at once:

This one has a great many voices in it, and benefits from another little discovery I made about harmony:

@PeterthePapercomPoser you will like this because i used the earthbound organ (but subtle)

my 3rd horror piece (mascot) very high quality.

what should i name it?

By the way, I have long since done away with the harsh instruments of my composition program's yore. So if people are not listening because they're afraid of having their ears abused by sawtooth waves, you may rest assured that they problem has to a fair extent been corrected. The instruments are still not ideal, but they're much better than they were. How does my program work? Well, it certainly isn't one of those random generators. There is no artistic value whatsoever in randomness. No, my program is 100% deterministic. Anyone who knows what they're doing in is in position of control rather than one of letting the winds blow where they may. Basically, the program is A, a musical instrument and B, a tool for calculating good harmony and counterpoint according to certain esoteric principles that I discovered and about which no else knows anything. I use this program because I need a good instrument like any composer and because the calculations involved in properly controlling harmony and counterpoint are thousands of times too complex to perform without the aid of a tool that automates the process and does so quickly. So what do I do? I first design and input a melody. Then I enter a number, one very easy to choose, for each timestamp that turns the melody note into a full harmony that represents it and which will flow smoothly and coherently into the next harmony. Does my program work? I think it is quite clear that it does. Not perfectly--I am still improving the program--but it's certainly getting there.

This one turned out very nicely. Give it a listen:

Making very good progress on the music creation program. Here's counterpoint it generated using a simple melody I input:

I cannot help not hear the Dvorak in this.

It took me days and hours but this poem is finally presentable. It's meant for a virtual orchestra, because its so huge. The literal poetic guide is in the description of the video, though it was written after-the-fact.

@Henry Ng Tsz Kiu @Luis Hernández @Marius_ Updates to this score are live! 🙂

I'm glad you commented on this because I forgot about this post! It has since been massively updated. I will post updated score and audio

Turmoil.pdf 25099099.mp3 A short brass quintet piece I wrote, originally just to serve as a sound pack demonstration for Vienna Brass sound library in Muse, that ended up becoming a full score. Thought this sounded pretty cool 🙂

(sorry, typo was made. Can't delete comments.. lol)

All of this music is copyright free, and was for a scrapped RPG game. @PeterthePapercomPoser I think you might like "Cerulean forest" from 3:25 to to 5:06

Thanks Uhor! I discovered a couple of wrong notes in my interpretation that no one seems have spotted, but will go back and correct them when I have time.

The atmosphere is ripe. I cannot say no to bells. I expect further developments for the better as suggested above.

Congrats! A bit like "If Sibelius had counterpoint chops".

Nice, if it were titled "Village Scenes" I'd believe it. Incidentally, there is a very good Bartok piece with that name you might want to check.

Immediate like. Consider adding Canteloube (or very early Berio) to your list if you ever compose a folk song suite or something of the like.

I really like when the intimate aspect of Debussy is the essential component. No the bloated thing in the recent famous orchestrations just mentioned above. Bravo!

Very colourful and apt. It's a shame the audio quality is bad.

I'm a fan of the quiet bits too. For an entire course on how to incorporate both calm and disruptive writing there's Boulez's Notations for Orchestra VII, I highly recommend it.