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Also, look at his piano pieces. He has very little on YouTube, but it is all good.

Through the Catacombs

Hey. I was wondering if i could have any feedback on this exercise? i really want to up my orchestration skills as i am a bit new to orchestration. Thanks in advance! :) Erik satie Gymnopedie - Arr Bjarke Tan - Flow 1.mp3 Score erik satie.pdf

Additional Music History, including "WHISKY JAZZ"

Gee; I wonder if this might help me with my guitar writing. I really don't think I could notate it even if I had "that kind of ear." Imagine indicating all the bends in Rock guitar music... The Jimi Hendrix Experience - Purple Haze (Live at the Atlanta Pop Festival) This is way off topic, but how on earth do I replace my "avatar," that is, the white C in the blue circle, with my photo?

Thanx Vonias...but for me....ai is a "secret serial Killer"

Thanx Vonias I dont know how to use your website...any instructions available ?

He just makes me jealous. It took me three years (Well, more like two and a half) AFTER GRAD SCHOOL to tackle the orchestra... Symphonic Poem No.2 'Fare Well' (Original Composition)

Thank you, Interlect! The same to you! Be sure to check out my website if you want to make some notes spiral out of control in music: www.atonalfugue.net

This would be cool under the bridge with the sound washing, laser lights and everything. Very cool.

This song was written in reaction to the NASA and Russian collaboration with the International Space Station. Молчи, скрывайся и таи И чувства и мечты свои Пускай в душевной глубине Встают и заходят оне Безмолвно, как звезды в ночи Любуйся ими и молчи. Как сердцу высказать себя Другому? Как понять тебя? Поймет ли он, чем ты живешь? Мысль изреченная есть ложь; Взрывая, возмутишь ключи Питайся ими и молчи. Лишь жить в себе самом умей Есть целый мир в душе твоей Таинственно‑волшебных дум; Их оглушит наружный шум, Дневные разгонят лучи Внимай их пенью и молчи… Tons of effort went into this song. It began with a piano performance by, Guqi. Before that, I composed the song in agnostic silence; my apartment was completely taken from me while I was in the hospital. I should have reacted 'appropriately' and fought the person that took my apartment, but instead I wrote this song. It's my first atonal fugue. I wrote the fugue pen to paper, while my apartment was gone right there, on the spot. I gathered my thoughts, and composed the notes in order as each emotion struck my heart. Anyway, the form is subtle. It's ABA' and the chords are the numbered set stemming from [0, 4, 6, 11] modulated in a simple way. But for brevety, you could use my website: ATONAL FUGUE The website will set you off on a compositional journey where the notes spiral. Try it. Compositionally, the song was written with intense conviction of the notes rotating while each chord turns them. It's hard to recall, but if you could just sit in a room, pen with paper, and a candle; all to write music. Do it. Agnostic Silence_Vonias.mp3

The Ladder of Jacob System:

Here is number two at long last. I'll get the words in later. Three Part Songs to Poems by G.M. Hopkins-2 Free Sheet Music by Robert C. Fox for Various Instruments | Noteflight (LOL Number Two...)😄

Well, that is very nice! I just stumbled on it; I've been more in the keyboard forum since March 15, the ides of March, for some reason.

If you like that ...you might like this: Scoring to Film, can be an inspiration Booster, and Of course the Title theme name,and transitions, can be changed accordingly.

The Foretold Heir:

Imagine being in St. Olaf Choir, a pretty decent college choir, and having to sing THAT for anyone's birthday...☹️ The St. Olaf Choir - "Ehre sei Gott in der Höhe"

Well, Beethoven practically loved "God Save the King." Best national anthems I am familiar with are the Russian and Canadian. Oh yes; Haydn's Austrian/Nazi/German anthem. Gott erhalte Franz den Kaiser [Imperial anthem][+English translation]

It becomes catchy quickly. I can't sleep after listening to it 15 hours ago.

Absolutely! Form is where the depth of a composition lives! It's really simple. I always put form on graphing paper. Then the fun part in that is when you absolutely commit to form. It's not something you could half bake in music. Form, could exist as smaller compositions within the whole. Don't be afraid to be too violent with transitions. I think the difficult part comes when you try to make things too coherent, which is a viable solution too. But! Form is lost in that lucid 'elision' of notes where they become jumbled together, like melted cheese. On graphing paper, I create arcs of music on a concrete line and divide it mathematically. This also makes it easy to include advanced techniques in beauty such as: phi and the golden section. Try making a musical joke to in the form of ABACADABA. You'll have fun!

Thank you! I'm glad I was able to capture the intended mood of the overall work. Found the pattern while messing around on my MIDI keyboard the other day, playing with spitfire LABS VST3 piano sounds. Also, if you've seen any of my other works, you'll notice I tend to have a bit of favoritism for open-spelling chords & triplets / tuplets in general. 😅 I like the suggestions for the form, here. I sort of just allowed my ear to guide it up to the point seen in the post. If you have the time, I have an entirely different conceptualized structure written out in a separate score file, that was inspired by some creative liberty granted to @MK_Piano while in a discord call the other day. I will share this new info right here: Aurora-UpdatedVersion.pdf Aurora-UpdatedVersion.mp3

Hey @nathanstravinsky! I just finished my annotations and I am here to share! The attached PDF are my comments on your work. You will find a written out summary at the end. To add, I am attaching this 5-minute long YouTube video covering the Harp. I felt it important to make a dedicated video as some moments for the harp in your work were not practical for the instrument. For anyone else viewing this comment, it is a basic introduction to the harp for composers. Find both resources here: https://youtu.be/_Stiy-uh12k?si=luX9YTfy-8DASSxx N. Janco - Philly (ANNOTATED).pdf

Wow yes, absolutely! I have done some shorter text-based scores before, often with a lot of improvisation and have often had these sort of textures in mind, one way or another... But here's a question: How do you approach form or the overall arc of the piece in this process? Asking because it is something I often struggle with myself. -P

I very agree with your approach to create a new piece having a musical idea in mind, if not yet a melody or motif to be used as the main subject, but a rather „technically“ one – here your choice of the interval pattern you described. Even if you did not invent a new chord or a new scale, this is a unique, this interval pattern is a „unique selling point“ of the piece and creates the mood of the piece which is indeed „ethereal“. And with your realization and recording so far, you have really caught this melancholic feeling with the warm timbre of the cello and the soft piano. I especially liked the small details such as the grace notes, the arpeggiated two-note-“chords“ and the triplets. Now, to get the piece continued and finished, I think it’s time to think about the form. Since it is already lengthy and although it has just separate sections, the listener is somewhat lost not exactly recognizing the structure and find out where the climax is. And in that sense it becomes a bit repetitive because there is a lack of contrast to the overall calm and „airy“ mood. Therefore, I would suggest to consider to put the piece, for example, in Rondo form where you could use the existing material for the different A (or A’) sections and there were room to introduce sections with a contrasting mood (in the B and C sections). For such a contrast I could imagine passages with a more dramatic expression or a final, triumphant resolution. Another possibility would be to have a section with a more distinctive and memorable melody (e.g. a „real theme“).