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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!

Hey man! Great piece. I’m also a Catholic composer, so I wanted to check this out to offer my compliments and any knowledge I have that may help you bring this to the next level of quality. Ill try to keep it brief, because I can tend to give long detailed analysis:) Overall feel: this sounds very Mozart-esque. It seems to me like you drew from his style pretty heavily in the intro, outro, and the countermelody lines. At the same time, I think the inner melody with the choir is lovely and more in the modern classical style of what I hear churches singing today in the US. From what I can tell, it seems you’re Polish and this is in Polish. I Googled it and it said that Saint Martin is particularly celebrated in Poznan; could you tell me a little more about why you’re writing this for him in mind? What inspired this piece, and what is your goal? High quality points: I do love the melody. It sounds very sweet, and also has a form and repetition that feels natural and memorable. I think a church would easily pick up something like this. I also do like the flute part especially as a countermelody, and I think it brings a lot of rhythmic variety and sweetness with it as well. Questions: This is already a good piece, and any questions I have are minor points only to try to help you. If this is in Polish rather than Latin, could you please title it in Polish? I was expecting a Latin piece, so this could help a future choir director distinguish it. Also, if this is intended to be sung at a general church or Cathedral, could you reconsider your form and instrumentation a little bit to match that style? Generally pieces like this are written for piano/organ, and other instruments are used as accompaniment. I could see this easily being a piece for piano/organ, flute, and SATB choir. Then you could take the piano/organ part and expand it into a string quartet if you wanted it to be played at a Cathedral who had a string quartet. For the form, I think the general Church congregation would appreciate something a little shorter. I find that an instrumental intro feels nice at about 4-8 bars, and I think an outro here would feel nice at 3-4 bars. (I also think the little stops and the short staccato notes with thin accompaniment takes away from the natural momentum of the piece, so removing those will help the overall flow). Again I think your melody is wonderful. Could you consider doing a IV-V-I progression on zmiluj sa? I think it would be more pleasant than the F augmented chord you have now. For the end of Pane, could you consider using your flute melody as the final notes of the first Pane? So the melody would end FBC rather than DDC. It would be on an V7 chord. Also keeping the flute & congregation together on that would help the singing. Then the form: in my mathematical mind, I would think repeating everything twice would be the ideal (like how the priest - congregation does it in the ordinary form), or doing everything three times (like the extraordinary form), but this feels really nice to have 2-2-1. I think it’s more musical that way. You may want to ask a liturgist if having the final section only once would be allowed. Similarly ansk anbout inverting the zmiluj sa Kriste; we don’t do that in the US, but if you guys do, cool. And something with congregational singing, having the altos & sopranos singing different words at the same time would really lead the congregation off. Could you have the altos match the sopranos more? I do appreciate starting the melody on beat 3 and modulating to G major; I think that’s really nice variation. And finally, something I’ve learned in my own writing is that repeating a section outright makes it sound flat and boring. I tend to always change something when repeating a section. Strangely, I didn’t feel that way when listening to your piece. I think it might have been because so many of the lines are written in polyphony rather than homophonic style, so they sound more interesting. If so, keep it up:) In polyphony it can be difficult to have all 3 chord tones present all the time, so see if you can include that. You’ve done a wonderful job, and I hope you keep composing:) If you update the piece, I would love to see your changes. Feel free to check out or offer feedback on my pieces Cheers!

Hello again @Krisp! I love the delicate piano dissonance accompanying your voice in this song. You usually include English subtitles in your compositions but I was disappointed to see that you didn't in this performance. It would be great to know what the words mean when you're singing! But I do like that you show the notes of your composition much more clearly than before in this video. Thanks for sharing!

Hey @Henry Ng Tsz Kiu! I don't know how I haven't yet mentioned this but I like how the main Arjuna theme is a clever set of enclosures around a single tone. By approaching a tone by both overshooting and undershooting it with a leading tone from below you create a nice sense of approaching the tone from all directions. I love the romanticism of Variation III with its minor subdominant. Variation V takes up your now characteristic play with pentatonic scales. The fugato variation is brisk and full of vitality and life which brings the movement to an exciting and energetic conclusion! Thanks for sharing!

Hi @ferrum.wav! I listened to the original track and your first variation immediately afterward. They do transition into each other very smoothly! I think making small changes to each successive variation is going to be the best way to eventually make the piece sound more and more different from the original (but still audibly related) as possible. That's what I always find most exciting about variation form is that it successively sounds more and more different and further removed from the original and brings a surprising sense of variety despite still being audibly connected to the original theme. Thanks for sharing and good luck on your successive variations! P.S.: I've also recently finished a movement of a giant variations piece. Check it out if you have a chance!

Hi @Some Guy That writes Music! I think writing music that modulates from the get-go without first establishing a tonic key in the main theme is difficult. But you do somehow manage to achieve this with the help of sometimes repeating a musical gesture again to solidify the feeling that, yes, you did mean to do that. Wagner was the composer in music history that was known for the "art of transition" right? I like how the piece builds tension, momentum and dissonance towards the end. But I do feel like the piece just stops and could easily be continued. Cool piece! Thanks for sharing. P.S.: Don't forget to acknowledge the people who have taken the time to review your music by giving them (myself included LoL) a ❤️ or a 🏆!

Hi @Henry Ng Tsz Kiu I really enjoyed listening to the first four movements : sounds are awesome, melody pleasant and the writing very subtle. About the last two movements, I guess the writing becomes a litlle bit too complicated to my taste. Congratulations for this piece 🙂 Regards

@PeterthePapercomPoser Thank you for taking your time and that fantastic review!

Hii! @PeterthePapercomPoser Noo, it's not me, its muse score who is playing it! A tried to make it sound as real as possible but i couldn't program the rubato and tempo shifts hahaha The purple notes is the main motif!

@PeterthePapercomPoser @FILMSCORE @Uhor @BipolarComposer I know it's been a while. I haven't been here in a hot minute. But a lot of things were reworked with this score, should you feel the want to revisit it 🙂

Hey @AngelCityOutlaw! Very cool track! Reminds me a little of Kow Otani the Japanese composer who wrote the music for "Outlaw Star" an anime that was popular right before the reign of "Cowboy Bebop". Thanks for sharing this cool "Asiatic" track!

Hi @Samuel_vangogh! Is this a recording of you playing your own music? Very good job on that front! Now if only you finished the piece and performed and recorded it yourself, I'd give you the "Star Performer" badge! LoL But very cool idea so far. Is this a study on 4ths? What are the light purple highlighted sections? Thanks for sharing!