All Activity

Love this Peter! Your intricate orchestration has been carefully woven into a mesmerising tapestry. Must've taken a lot of effort to write! I was especially interested, having used Uematsu as an inspiration for one of my own recent piano works. But this is a far more ambitious project.

sorry i mean horror 1!

horror 3 was supposed to be a chase but it didn't sound that good so I reworked (not cleaned) it.

Man the woodwinds writing on this is insane, heck I think the woodwinds are the spotlight of this movement (and the horns too). You've managed to really use all of the family's characteristics to their fullest. Love the canon woodwinds-only section on b.42 for contrast, followed immediately by another color contrast on b.58 by the string quartet and the horn for pedal tones. It's really dense with the variety of themes playing counter-points with each other. The harmonies are so colorful, also really like the transitions between the variations. Random things I've noticed: brass fanfare interruptions on b.228 are from the beginning (b.17), the upward fourths figure from the cellos on b.72 gets a lot of variations after this as foreground (starting b.89), middleground (tremolo strings from b.101), background (b.97), and cadence (b.86 violins, b.126-127 clarinets and oboes, b.135 strings, b.142-145 strings), figure from b.81 by string and oboes gets variated on b.166 (love this section) and b.258, the arpeggiated power chord figure on the harp gets used a lot until the end. Overall, I really like it. Thanks for recommending me your piece! This really motivates and inspires me to continue my own symphonic variation.

Hello Sameul, Shall we talk about the sinister colors of this atonal this piece? For there are many! I love dark piano acc., which follows that lush, lost violin line. It daunts us as listener to ever so much. Not many know the powers of atonal music. Here, you have master done that! Kudos.

Hello everyone, I present to you my newest composition: A waltz. Yes. I wrote another waltz. 🙂 Waltz Grazioso

I reworked the piece above a bit to benefit it and put my program's contrapuntal technique more on display. It starts out with the input melody. Then, after it sounds once, that same melody sounds again with two voices added. Then, to bring things to a close, it sounds third time in the presence of four other voices.

The new ninja gaiden game's music is some of the best game music I've heard since the 2000s.

I've been going through older pieces and making multitrack recordings of them with myself singing all the parts. Hopefully this provides a better sense of the piece, even with an alto singing the bass line, and some resulting sound distortion from Garageband's transpose feature...

This one turned out quite nice. All I did was provide a melody and specify five voices and the harmonization was determined in a purely deterministic fashion:

Once again ... Hi all, Here's something I've worked on .... it's a children's classroom song. I plan to submit to the music teacher at my grandson's school. So some feedback is appreciated. I might add more refrains ... (original lyrics). Mark

Whoops, I forgot to connect two of the voices to sound output. Here's the fixed version:

yes, more horror.

Hey Vince. Thanks for your review! I actually do have Terra's Theme stated that way in the solo string quartet section of the piece here: The 1st Violin and Cello have Terra's Theme in a form that's closest to its original form here. Yeah LoL .. well, it would be a misnomer no? If I persist with this project then this won't be "final" at all! Haha LoL I never thought somebody would call it a "quagmire". The rehearsal marks are a headache even for me. I have a Google sheet with a catalogue of all the variations and their meter, tempo, themes used, and page number in my notebooks (as you've seen I think). Those technical details aren't really useful for anyone except me if I ever plan on continuing other movements or in case I still want to use unused or unrealized variations in the piece. Thanks! Saving Kefka's theme for the end was a happy accident actually, and it's a modified version of a 4/4 variation that didn't work quite as well and was going to get cut anyway. I hope so! As I said, there are so many unused and unrealized variations still in my notebooks - it would be a shame if I didn't utilize them in another movement. Thanks for your kind words!

Reworked the above composition to harmonize with better technique. Also, added two voices so that there are now five moving in counterpoint rather than just 3.

Symphonic Fantasy... is there a way to add "final" to that somehow? Or would that be cheesy lol Wow, I love this so much. It really felt like a story was being told. Not necessarily the story of the game, but one you wrote with all it's themes. There just seemed to be great care in when and how variations were played out. I'm no orchestrator, but your orchestration seemed spot on and colorful, full of craftsmanship and creativity. I really liked the section of just winds, or the moments of trem strings. Even though you have cadences and breaks in the music, it never felt like it was dragging or boring. Your writing really had a sense of blurriness with collage-type textures when you wanted it too, and then was bold and clear during other times. I just love the diversity with instrumentation, dynamics, range, color, you name it (maybe techniques too?). The bass guitar and synth were really cool additions, and helps set your music apart in it's style and persona. I'm not sure about all the themes, but one thing I thought about was that the themes weren't always introduced in a stately way. Wasn't a big deal, but for instance with as much motivic exploration you did with Terra's theme, I kept waiting for it to be played with the 3rd 16th note in that motif to be played on beat 1. You had such a good lead up for it, but maybe that's just a style-choice-difference we have. Your path gave it more of a fantasy vibe, which I guess is fitting for a Final Fantasy piece, eh? 😛 I didn't see it, but it would be cool if you referenced all the rehearsal marks to we could see what you were going for too! I'm to know how you organized 8 themes into a cohesive quagmire woven so well. Awesome music! I loved the build up to the Kefka moment at the end. I think it's always wise to save one of the coolest moments for the end; it makes me want to listen to the whole piece with a relisten just to get to that part again. Well done Peter, this was great! Are there more movements for the future? I think it stands alone, but you probably have so many options with variations you could keep going haha

Hey Peter, Thanks for the warm words! The original does actually have the subdominant ending (see attached). My new counterpoint is mostly in bars 45-51, in the oboe and clarinet. I did think I might add some glissandi in the harp, as the harpist doesn't have much to do here, and it might suit the mood of the piece. Hopefully I don't have any wrong notes like I did in the Debussy!

I accidentally forgot to turn one of the voices on. Here's a better version. Note that the pitches are a bit out of range in the sense that the voices get too close together at points. It's a consequence of the fact that I'm still adjusting the parameters of the program a little:

Hellooo, I wrote this piece after hearing birds on my window!! I tried atonal music for first time ever, It was really fun to explore new sonorities and to apply them to my music! (as main intervals I used semitone and major and minor thirds) hope you like it!

Hey @Alex Weidmann! I really love this piece! And your orchestration is great! I usually like when composers try to end their music on a non-tonic chord. And one of my favorite moves too is to end on a subdominant, which you do here. But I think, the tonic is so well established here and repeated so much that it seems unnatural for it to end on the A minor chord. But I like the overall ending idea - not sure how much of it is your personal addition and how much is in the original. And the counter melodies I liked too! You also keep the groups of instruments playing together relatively small at any given time, giving the piece that chamber feeling that it needs in this case. Thanks for sharing - your orchestration skills are definitely improving!

I started a new and better program from scratch, as the one above, while necessary to create as part of a learning process, is not quite what I currently need. Here's a short and simple piece with three voices moving in counterpoint. It's short because it was a preliminary experiment to test the principles I was contemplating. I think it turned out nicely as a small proof of concept. By the way, it is not in standard 12-tone equal temperament but rather something closer to just intonation:

Oh I'm sorry, I totally forgot this time... And it was too late to correct. I will therefore submit a translation here (let's say you will have an overview of the text without necessarily having the correspondences, but there are several games that I had fun making to match text and music... There is even a quote from Fauré's requiem towards the end...) In any case, thank you and thank you again for listening. It makes me very happy... Litanies of the First Quarters of the Moon Blessed Moon Of sleepless swoon, White medallion For Endymion, Fossil star Exiled afar, Jealous tomb Of Salammbô’s bloom, Pier for the fleet Of Mysteries deep, Madonna and miss, Diana–Artemis, Holy watchtower Of our dark hours, Jettatura For games of Baccarat, Very tired dame Of our rooftops’ shame, Potion to stir The firefly’s blur, Rosette and dome Of twilight psalms, Fair cat’s-eye light Of our last rites, Be the Ambulance Of our lost faith! Be the eiderdown Of the Grand Pardon!

Hi to all. I'm pleased to present my latest attempt at orchestrating a piano work. I've extended the piece, and added some of my own touches, including extra counterpoint lines. Haven't spent much time on it yet: so I'm sure I'll need to revise some things. Hope you enjoy!