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i have started doing some revisions on this, adding extra variations on the repeated oboe part (and some on the piano). hopefully this will fix the repetitiousness and make it more interesting but not entirely make the themes unrecognizable. should be finished in a few days !! funny you mentioned that. i had listened to that and strauss' oboe concerto and checked out how they treat the oboe before i composed this lmao thanks for the feedback guys !! glad you both enjoyed it

RESOURCE 2 Hi Guyz ROYALTY-FREE | COPYRIGHT-FREE | NO CREDIT REQUIRED Backing Trax, for songwriters, producers, artist, & SINGERS. 1: STRUCTURE : CHORUS, VERSE , BRIDGE , | DOUBLE CHORUS-ENDING | 2: TEMPO : 125 BPM 3: GENRE → Jazz 4: ENCODED SETTINGS : 320 Kbps, CD Transparent Audio | 44,100 Hz, 16 Bit, Stereo, MP3 5: DOWNLOAD : Right-Click PLAYER | Save Link As RESOURCE 2 JAZZ 1 - Royalty Free - Copryright Free - READYMADE BACKING TRAX.mp3

OH MY GOD !.........................I only saw a tarot reader a couple of days ago,and this card came up.

sure thing! it's fixed

Hi! Would you mind sharing the PDF? It’s really hard to see any of the notes or details clearly based on the YouTube score.

Thank you so much once again, Henry, for your beautiful comment and for listening so attentively. Your references to Schumann and to Last Year at Marienbad — a film by Resnais that I have long wanted to see, but have not yet had the opportunity to watch — were both flattering and deeply meaningful to me. So thank you as well for pointing me in that direction. My intention was indeed to follow as closely as possible the dreamlike path of a love that never truly came to life. As so often with Laforgue, everything unfolds in an ambiguous space, made up of appearances, half-truths, and the strange feeling that the beloved may exist only as a memory, or perhaps only as a dream. The ending seemed to call quite naturally for this musical treatment: the poet evokes the lost beloved — or perhaps love itself, who knows? — while life quietly continues its indifferent course. In French, Laforgue’s language has a very particular flavour, constantly oscillating between sublime images — “the eyes are azure carnations,” “the innocent mouth,” the elusive woman whom he tries to follow — and the wonderfully prosaic final line, “I shall go home without dinner,” which suddenly brings everything back to ordinary life. As for the orchestration, I wanted something as ethereal as possible. The harp seemed inevitable, together with violin "fragile" harmonics and a constant alternation between solo strings and the full ensemble. The ternary, circular motion also seemed essential to me: it continues endlessly, because life itself never stops moving forward, while the poet remains motionless in his grief. In any case, I am very happy that both the poem and the musical response I tried to give it were able to resonate with you.

Oh yeah, i intend!

well that was beautiful. I find myself most partial to the end of the piece, I found myself really desiring a longer phrase, so it was nice when one finally came. I will agree with MJFOBOE that the oboe part did get a little repetitive, but considering the subject matter, and the beauty of the ending as a result of that repetition, I would say it was acceptable. Also I think the MIDI made the staccatos a little extra piercing so I noticed it every time. Regarding the subject matter… real. It’s so hard to keep working to improve yourself and your position in the world, but remember hope is a weapon. I believe in you and your beautiful music.

Yeah I sang it in a school choir… a freakingly fascinating experience! The piece is basically about the wheel of fortune… how different things appear in life and how the fortune destroys them all without mercy, without preference, somewhat like Lao Tsu’s Tao.. Henry

Have I ever posted this before? I reconstructed this based on one of Rachmaninoff's Preludes, but rewrote it using only conventional functional harmony. I think you'll find it very helpful.

ℍ𝕖𝕣𝕖 𝕀 𝕔𝕣𝕖𝕒𝕥𝕖𝕕 𝕠𝕟𝕝𝕪 𝕒 𝕡𝕒𝕣𝕥 𝕠𝕗 𝔻𝕚𝕒𝕓𝕖𝕝𝕝𝕚'𝕤 𝕧𝕒𝕣𝕚𝕒𝕥𝕚𝕠𝕟𝕤. 𝕀 𝕟𝕖𝕖𝕕 𝕗𝕖𝕖𝕕𝕓𝕒𝕔𝕜 𝕠𝕟 𝕨𝕙𝕖𝕥𝕙𝕖𝕣 𝕚𝕥'𝕤 𝕒𝕔𝕥𝕦𝕒𝕝𝕝𝕪 𝕒 𝕧𝕒𝕣𝕚𝕒𝕥𝕚𝕠𝕟. Diabelio variacijos.mp3 Diabelio variacijos.pdf

hello folks, while I'm working on some exciting big projects, I found this absolutely heart-gripping piece by Sibelius. It instantly found a deep part of my soul. I wanted to arrange it as some parts could be instantly imagined in my head. Some others where hard to execute with such beauty as the original performance, but i wanted to try. Original: https://www.youtube.com/watch?v=vD7jiXWqhPs Arrangement:https://youtu.be/vZcKCGwQsrA The Spruce.mp3 The Spruce.pdf

Thank you for your comment, @Grant Weep. It seems you know about Schnittke, too, I ought to give his music a listen. Regarding No. 3: It actually turned out to be a very short piece. So, rather than just uploading "Ominous Glass Shards", I decided not to post it, as I want to use it as a basis to develop it into a miniature. Also, I need to make sure I can handle the sheet music properly, though that looks like it will take quite a bit of time. Anyway, I appreciate your comment! Best, Lithl.

This is a very lovely work which reminds of the Poulenc Oboe Sonata The piano accompaniment is very effective. The initial theme lovely; however, a bit repetitious (even with the challenging piano movement underneath). From a technical point of view - no problem for the Oboist here. https://www.youtube.com/watch?v=9hgiP3XLKQ8&list=RD9hgiP3XLKQ8&start_radio=1

Hi Alex, Very interesting harmony and movement. My only comment is the orchestration: Instead of doubling for example the Oboes why not give the second Oboe the English Horn line. Similarly, I would also move the Bass Clarinet to the one of the Bassoons. I don't really feel you need the need them in the orchestration. Mark

I've fixed a ton of notes, but the sound still feels off. Can someone help me figure out if there are still problems with the notes themselves… or if the rest is a MIDI issue? ㅠㅠ

Hello, I also believe that no 7 is the best one. Maybe it's the first few notes...it just sort of...works for me. So maybe I like it for a different reason than Henry. This is me personally speaking as someone who is trying to get into some more modern harmonies. Perhaps no7 had a bit more "solid ground" for me to stand on harmonically. Someone recently introduced me to Schnittke...his klavierquartet. Your piece felt a bit easier to understand and listen that the Klavierquartet, lol. But yeah, I love how bare and cold it all sounds. Love the title - glass shards. What happened to no 3? =O

You are welcome.

Hi Guyz ROYALTY-FREE | COPYRIGHT-FREE | NO CREDIT REQUIRED Backing Trax, for songwriters, producers, artist, & SINGERS. 1: STRUCTURE : CHORUS, VERSE , BRIDGE , | DOUBLE CHORUS-ENDING | 2: TEMPO : 125 BPM 3: GENRE → Dance-pop : techno-pop : nu-disco : new wave disco. 4: ENCODED SETTINGS : 320 Kbps, CD Transparent Audio | 44,100 Hz, 16 Bit, Stereo, MP3 5: DOWNLOAD : Right-Click PLAYER | Save Link As RESOURSE 1 - Royalty Free - Copryright Free - READYMADE BACKING TRAX.mp3 RESOURSE 2 - Royalty Free - Copryright Free - READYMADE BACKING TRAX.mp3 RESOURSE 3 - Royalty Free - Copryright Free - READYMADE BACKING TRAX.mp3

Hi again, @jejrekmek! This is a truly wonderful piece; I find myself wondering how you manage to create something so original. Your compositional ability feels less like the result of mere practice and more like an Individual ability. I really enjoyed this track, and the melody stayed with me long after it finished. The melody is catchy, yet the composition itself is musically fascinating. I take my hat off to you. Like @Henry Ng Tsz Kiu, my personal favorite part is the section starting at 5:30. The whole song is lovely, but that part really draws me in. The following comments aren't about the composition or the ideas themselves, but simply about the mixing (though I’m not particularly skilled at mixing myself, I’m sharing this from that perspective). I think the composition and sound choices are excellent. Again, this is about the mix. I have no intention of imposing my views, and the final decision is yours as the composer. There is no objective "right" or "wrong" here, it’s a matter of personal taste. I hope you’ll take this merely as a small, tiny suggestion. To make things clearer, I’ve roughly divided the song into five sections. Section 1 (0:00–3:35) I think the key to this section is "spatial breadth." You might want to try widening the sound of the vibraphone a bit using spatial plugins. The occasional noises (or synth-like sounds) might make a stronger impression if you increased their volume and panned them to move across the stereo field. However, the current state—where the sounds are almost audible but just out of reach—actually adds an interesting element that contributes to the section's mysterious atmosphere. So, leaving it as is might be fine, too. Additionally, adding a touch of reverb to those sounds and the vocals would likely enhance that sense of spatial openness. There is noticeable audio distortion (clipping) at various points throughout this section. While I am unsure if this was intentional, given the section's sense of transparency and its dreamy, mystical atmosphere, I feel the track would be more effective without the distortion. I felt that plugins such as OrilRiver, Giant Verb, DearVR Pro2, and Exoverb would suit this track well (all of which are completely free). I think the vocals would benefit from a bit more reverb and increased volume. For reference, I have attached images illustrating the spatial positioning. Section 2 (3:36–5:45) In this section, I felt the volume balance between the guitar and vocals was off. Instead of panning the guitar hard left, it might be better to position it "diagonally forward-left" relative to the center. There is a lot packed into the mix, so I cannot list every detail, but the rock guitar panned to the right could perhaps be made clearer. The right side feels a bit cluttered, which seems to diminish the impact of other sounds. Also, the kick drum sounds a bit detached (too isolated); it feels like it is playing on its own rather than as part of a cohesive drum kit. Section 3 (5:46–6:37) Personally, I like the placement of the ethnic drums. However, the sounds on the right seem panned too far outward. Perhaps you could try adjusting the angle to point them a bit more toward the "nose" (the center) relative to the listener's position? The same applies to the guitar. Section 4 (6:38–7:53) The main issue here is the vocal volume. Or rather, the entire song. Simply adjusting the vocal level should dramatically improve the overall quality of the track. Also, you might want to fix the clipping (audio distortion) occurring right at the very end, around the 7:50 mark. Section 5 (7:54–9:29) This part is good. You could perhaps raise the piano volume slightly? But as it stands, the mix doesn't cause listener fatigue. This section also demonstrates that there are no particular issues in the instrumental passages. The piece is truly wonderful, and I really enjoyed it. Finally Do you have a YouTube channel? If you can develop it successfully, I think some people would be captivated by your music. It would be great if you could establish a unique video style, much like Louis Cole or Jacob Collier. Of course, the music industry is incredibly tough, so I can't guarantee you'll become a superstar like them. That said, had I discovered you on YouTube, I would probably love your music. This is an important point, too: I’m not just irresponsibly saying, "You're guaranteed to succeed!" Luck plays a role, and please don't neglect what you need to focus on right now; keep attending to those priorities while also working hard on your music production. If there’s anything else you’d like to ask, feel free to send me a DM anytime. I look forward to your future work! P.S. I hope I didn't come across as sounding condescending. If so, I apologize. I actually appreciate your sound immensely, if anything, I might be the one who should be learning from you. Kind regards, Nd 6829.

Another musical quote from "Flow - The Psychology of Optimal Experience" by Mihaly Csikszentmihalyi: And if you've gotten this far, thanks for reading!

Thank you! I also love it very much!

A fantastic little piece. The harpsichord is an instrument I really like.

I have started my. To those who enter, do not be stress. Have fun. :)

Thanx So youv'e sung the piece before ?...............were you part of a Chorale Choir ? What is the song about , what do the words say , is it in Latin ?