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Title: Rebel in Disguise (Verse 1) They see your quiet smile, your calm and easy style, But underneath, there’s thunder rolling all the while. You walk the line in daylight, but at night you come alive— A secret spark of trouble in the way you thrive. (Pre-Chorus) You play it cool, you wear the mask, But your restless heart is built for breaking glass. You’re not the kind to follow every rule, You’re the wild card, bending what’s true. (Chorus) You’re a rebel in disguise, they never see you coming, Hiding flames behind those eyes, your heartbeat’s always drumming. You fool them with your gentle ways, but I can see the signs— Underneath it all, you’re a rebel in disguise. (Verse 2) You chase the thrill in silence, with laughter in your veins, You make your own adventure, you love to break the chains. There’s more to you than meets the eye, a story to be told— You’re fire wrapped in velvet, a spirit uncontrolled. (Pre-Chorus) You play it cool, you wear the mask, But your restless heart is built for breaking glass. You’re not the kind to follow every rule, You’re the wild card, bending what’s true. (Chorus) You’re a rebel in disguise, they never see you coming, Hiding flames behind those eyes, your heartbeat’s always drumming. You fool them with your gentle ways, but I can see the signs— Underneath it all, you’re a rebel in disguise. (Bridge) So own your fire, let it shine, Let the world know you’re one of a kind. No more hiding, let your colors rise— You’re the storm behind the blue skies. (Chorus) You’re a rebel in disguise, they never see you coming, Hiding flames behind those eyes, your heartbeat’s always drumming. You fool them with your gentle ways, but I can see the signs— Underneath it all, you’re a rebel in disguise. (Outro) Yeah, you’re a rebel in disguise— Breaking free before their eyes.

Title: Good Boys Aren’t for Me (Verse 1) Polite smiles, tucked-in shirts, All the right words, but it never works. I tried the safe route, I tried to believe, But my wild heart just wants to break free. (Pre-Chorus) Give me tattoos, give me trouble in his eyes, Lean in close, I can feel the butterflies. The good boys call, but I let it ring, 'Cause I need more fire, I need more sting. (Chorus) Good boys aren’t for me, I want a rebel, a little risky. Give me the thrill, give me the heat, Someone who owns the darkened streets. Good boys aren’t for me, I crave the edge, the mystery. I want a bad boy, want a gangster man, Who gets my heart like no good boy can. (Verse 2) Buttoned up boys with their polished shoes, I can’t keep up with the life I've chosen. I’m drawn to danger, to the wolves who run, To the boys with a past and a loaded gun. (Pre-Chorus) Give me tattoos, give me trouble in his eyes, Lean in close, I can feel the butterflies. The good boys wait, but I just can’t stay, 'Cause I need a lover who can sweep me away. (Chorus) Good boys aren’t for me, I want a rebel, a little risky. Give me the thrill, give me the heat, Someone who owns the darkened streets. Good boys aren’t for me, I crave the edge, the mystery. I want a bad boy, want a gangster man, Who gets my heart like no good boy can. (Bridge) Call me crazy, call me wild, But I love the danger, love the style. He’s the king of the night, I’m his willing thief, With a kiss that tastes like disbelief. (Chorus) Good boys aren’t for me, I want a rebel, a little risky. Give me the thrill, give me the heat, Someone who owns the darkened streets. Good boys aren’t for me, I crave the edge, the mystery. I want a bad boy, want a gangster man, Who gets my heart like no good boy can. (Outro) So let the good boys wave as I walk by, I’ll take my trouble with a glint in his eye. Good boys aren’t for me, now I see, Give me a bad boy, set me free.

My quest to become a composer continues with multiple arpeggiated improv-piano parts. Welcome:

Thank you for organizing this event. It has been wonderful to listen to such a variety of proposals.

I wasn't wanting to modulate there...I was thinking of staying in the B M/G#m area

It sounds very good, very musical and coherent.

Thank you! On the ending, if I may ask for advice, do you think the instrumentation would work, or are there some that could work better?

Thank you for your kind words. I agree about the development comment, I definitely think it would benefit from a longer continuation, but I need to start planning ahead for developments like that to make sense for me. And yeah I'll change the key, I wrote the melody starting on a C, and then immediately changed plans lol.

30 minutes?!

I am reviewing Vincent Persichetti's "20th Century Harmony" and just finished chapter 3! And so I decided to do the first exercise that looked good to me to try to make an actual piece of music out of (I don't like exercises for their own sake - I think I should always be trying to make living, breathing music). Here is the prompt for the exercise: "12. Harmonize the following melody in four string parts using dominant seventh chords exclusively. Much contrary and oblique motion and several inversions should be used." Like I said, I tried to make an actual piece of music out of it and not be too much of a stickler to the rules. I also tried to approach it not like a chorale exercise - let me know if I've succeeded on that front! Thanks for listening and I would appreciate any suggestions, critiques, comments or just observations!

Kia Ora Alex, Nice piece. A few suggestions: Although tabs are quite common for notating guitar parts in pop styles, classical guitar pieces are generally only notated using standard musical notation. While you can still include a staff of tab in your score, it might be more conventional to remove it. If you do choose to include tab, please, PLEASE get an actual guitarist to write it out for you. The tabs generated by notation software are almost always shite and the one that Musescore generated for you is no exception. It has suggested some ridiculous unplayable shite (like in bar two, who the hell has hands large enough to press both the second and seventeenth frets at the same time?!) which render it's inclusion in your score quite pointless. All in all, this is a good start. I'm excited to see where this piece goes next! Ngā mihi, Archie

Hi @Alant, The chord progression sounds familiar but this one is quite interesting to listen to when you use different variation techniques. Just beware of some playability issues: the left hand passage in b.136-137 is barely playable and the constant 32nd notes at the end for the right hand would be quite difficult and exhausting to play. Thx for sharing. Henry

Hi @PaavolaPyry! I do like this minimalistic music, it's like the poem you quoted which reflect a passage in your life. I like the ending, it sounds oppressive with the bass instruments getting in in octaves. Thx for sharing. Henry

Hi @therealAJGS! It really sounds like cool game music! in 0:57 the passage sounds especially 8-bit like. Thx for sharing! Henry

Hi @Chikotora The folk elements in the music is very well noted with the Eb-F# major 2nd and the constant ending of each phrase on D rather than G. B.50 sounds really interesting with the glissando and it almost sounds like Chinese instrument Gaohu! i suspect the triple stop in b.33 is playable or not but I don't play violin myself so I can't tell. Thx for sharing your first post! Henry

Hi @Alex Weidmann! I am no expert in guitar writing so I can't tell whether it's playable or not, but I would say the whole music would sound like something written in Chinese instrument Zhongruan (my fav. Chinese instrument due to its cute look lol!). It's also a plucked string instrument like guitar: Thx for sharing! Henry

Hi @jejrekmek! I don't find the intro boring at all; on the other hand I find it very religious which reminds me of Buddhist or Hindu music. Your singing is like chanting which is religious as well, and the chords, like Peter said is other-worldly. After it it's more in the world but the accompaniment reminds me of Gamelan music in the interlocking repetitive structure. Nice use of some microtones as well. The section after 5:30 is so interesting to listen to, it's almost like a musical example in a World music class with those drums and percussions! The rhythm throughout the piece is fascinating, again reminds me of world music! The ending is really calm to listen to like many of the pop Japanese music! I really enjoy this one, thx for sharing! Henry

Hi @BlackkBeethoven! What about having the original B-C#-D# in b.3 of your melody to a B#-C#-D# so you can easily modulate to F# major? Henry

Hi @Some Guy That writes Music! I got to say, this one is the best music I have heard from you on this forum. It's full of Mahlerian dissonance which really portrays your stress and sadness which I can feel clearly. I love the constant F#-Gb to G-F dissonace and other direct minor 2nd chords throughout to show how intriguing you were. The dissonant counterpoint is well handled throughout. Also I love the pacing of the piece, you just slow introduce each family of the orchestra without forcing it, for example you only let brass get in in b.28 and let them slowly grow to a climax to b.36, unlike many brainless film music which always bombard without reason. The ending is very luminous and well prepared; it's a bit surprising to me that you end the piece in Eb major but I love it! I would wish it to stay longer and add a bit development onto it! One small thing: maybe a key signature with four flats would be more convenient since most of the piece is in F minor. Thx for sharing this very emoitional piece! Henry

Title: Parking Lot (Verse 1) Late at night, under neon lights, You wait in the shadows, out of sight. Engine humming, secrets in the air, I hear your laughter, but I don’t know where. Candy-coated smiles, but your eyes are cold, The pavement whispers stories never told. Empty spaces, headlights blinking slow, Caught in your game, now there’s nowhere to go. (Pre-Chorus) You circle 'round, a predator’s delight, Silent as the moon on a sleepless night. Keys in your hand like a secret code, I’m chasing freedom down this endless road. (Chorus) Parking lot, parking lot, Locked doors, I’m caught. You keep me spinning, can’t break free, You’re playing games in the dark with me. Parking lot, parking lot, Can’t escape, I’m tied in knots. Under flickering lights, I’m losing sight, Tag, you’re it in the dead of night. (Verse 2) Echoes bouncing off the yellow lines, Shadows flicker, crossing every sign. You call my name in a sugary tone, But your intentions cut me to the bone. Window fogged, your breath on the glass, I feel you near, letting seconds pass. Locked in your maze, can’t find my way, Stuck in your world where the monsters play. (Pre-Chorus) You circle 'round, a predator’s delight, Silent as the moon on a sleepless night. Keys in your hand like a secret code, I’m chasing freedom down this endless road. (Chorus) Parking lot, parking lot, Locked doors, I’m caught. You keep me spinning, can’t break free, You’re playing games in the dark with me. Parking lot, parking lot, Can’t escape, I’m tied in knots. Under flickering lights, I’m losing sight, Tag, you’re it in the dead of night. (Bridge) Hiding behind every car, You’re never near, you’re never far. Breathing in the midnight air, Wish I could run, but you’re everywhere. (Chorus) Parking lot, parking lot, Locked doors, I’m caught. You keep me spinning, can’t break free, You’re playing games in the dark with me. Parking lot, parking lot, Can’t escape, I’m tied in knots. Under flickering lights, I’m losing sight, Tag, you’re it in the dead of night. (Outro) Under neon lights, your shadow’s all I’ve got, Tag, you’re it, in the parking lot.

I've combined this piece into one staff now, and created a tab score. MuseScore does this automatically, which is really helpful! I was able to modify the score where it showed red highlight warnings on the tab score: so I think it's mostly playable now (touch wood!) The natural harmonics might still be problematic? Though if they're not achievable as natural harmonics, perhaps they could be played as artificial ones? Edit: and looking at the fret numbers, I guess I'll have to thin out some of those big chords!

I started making this in October.

Hi Luis and thanks for the feedback! I am not an expert either, but I tried to make sure that the timings are sensible - hence why it alternates between the two horns (1&2) in the themes. If you have any further thoughts all are welcome! I think with these minimalistic pieces I really try to find small things, like colours or feelings or smells or certain tactile sensations... So everything is very interesting to read! With great thanks from Finland Pyry

Hello, I think it's a beautiful, thoughtful piece with careful harmonies. What I'm unsure about are the long notes in some places, but I'm no expert.

I also find it to be a very imaginative piece that maintains a great deal of expressive coherence in terms of motifs and developments.