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For my 14th casting Jewelz asked the Muzoracle "Should I go into teaching?" (Muzoracle is a storytelling/fortune telling/divination tool similar to the Tarot card deck, but with cards with musical concepts and 12-sided Musician's dice and Solfege dice. Perhaps it may be thought of as a special musical Oracle card deck.) My interpretation of the cards and dice are displayed below. Since the casting was in the key of A (because the black musician's die landed on A), it pertained to the Third Eye Chakra which is associated with woodwinds. Then, two more woodwinds cards were dealt so I picked the following three woodwinds to include in the piece: Flute, Clarinet, and Bassoon (Jewelz played Clarinet). Then there was a card in the suit of voices in the 3rd position so I included an Alto in the piece. And finally in the 4th position we dealt a triad of brass card so I used three trumpets. If you'd like to find out more about Muzoracle and how castings are interpreted go here: https://muzoracle.net/ This short musical representation of Jewelz Casting is about ~1:30 minutes long. I created the following melodic/harmonic underdrawing guided by the cards and the dice. I started the main melody with Flute and Clarinet on Bb and a rising chromatic line suggested by the dice. This was accompanied by an Alto voice singing B octaves and finally with three trumpets playing D major triads. If you've gotten this far thanks for reading! And I hope you enjoy listening to this short chamber work I wrote to represent Jewelz casting. Comments, critiques, suggestions, and observations are of course, always welcome. Thanks for listening!

Excellent pacing and nice job keeping the momentum Excellent transition to a heavy section. And nice keychange Excellent orchestration with the brass. Also, good job with the technique and articulation use within the strings. Other than that, there are some engraving problems, but those could possibly be artifacts of composition, which I am also admittedly, prone to habit. Anyways, though I’m being a little late to this excellent job and you prove that you could definitely orchestrate. The structure and waltz fits perfectly.

I love this piece. A very nice trio. If I was ever a chamber music teacher, I would recommend this to a woodwind trio who have the skills and instruments and means to do so. Anyways, this seems not too hard to be a collegiate level work, but a simple pedagogical piece of music. The school I go to does not have any chamber, music, ensembles or classes other than a few student lead performances throughout the year. It would definitely be perfect for one of those occasions and this would be a lovely applicator for practicing and or teaching staccato and different tonguing techniques.

Hi Tunndy, I notice your glissando lines have gone a bit haywire in Bars 54-55. Also in Bars 23 and 41 Violin II, you should flip the direction of the note stalks to make it clear what's going on there. Same in Bar 61 Violin I. Bar 55: some rests need deleting in the harp and Violin I. Same in Bar 66 Bass Drum, and Bar 69 various instruments. Plus a few more places where you have unnecessary rests. Bar 74: voices need tidying. Other than that good job! Also liked your recent Liszt orchestration of "La Campanella".

it's been a while since I posted here, here's my attempt at covering Bohemian Rhapsody 😁 Bohemian_Rhapsody for orchestra.mp3 Bohemian_Rhapsody orchestra.pdf

Cool bass beats along with a fun motif! Gets a little repetitive, but maybe this can be used for a boss fight. One thing you will notice with AI tunes is that the harmony can get quite stale. Even with the interval key change, this basically is the same harmony for the full 1:40.

Vonias Wonderful composition, so lovely and spiritual,and the vocal choir is Amazing, the sort of sound you hear in Big Films Iv never heard any thing like this ...thankyou ,and i wish you every success in life.

The second part of the fugue (and the entire fugue at all) is now available on this separate thread. I hope, you'll enjoy it and awaiting comments/reviews.

please delete my account , thankyou.

Here now the fugue in its entirety with a YouTube-video and the complete score!

Hello my fellow musicians, now I present the second half of the fugue with the „special feature“. Today is the 24th of February and it is now exactly four years ago since the Russian invasion in Ukraine. As I composed the fugue between February and May 2022, I decided - after I had accomplished the first half - to integrate the Ukrainian national anthem as further theme in the second half of the fugue – as a dedication to those which suffer from that terrible war, or more worse, have even lost their lives. For continuing the „analytic comments“, we cannot speak from now on of „development sections“ and „episodes“ since the fugue is now structured by the verses of the anthem and interludes between them: First Verse of the Anthem (mm. 51b – 43a). The first verse in B flat minor in the soprano is „accompanied“ by three subject entries: • B flat minor, inverted, bass (mm. 51b) • F minor, tenor (mm. 55b) • D flat major, diminished, alto (mm. 58b) Interlude (mm. 60 - 66). The interlude, dominated by a sequential motif which appears three times in normal form and three time in inversion. The fugue subject appears once in normal and once in the diminished form: • D flat major, bass (mm. 60b) • E flat minor, diminished, bass (mm. 64b) Second Verse of the Anthem (mm. 67 – 74). Similarly, the second verse, again in B flat minor in the soprano has tree contrasting subject entries, where the last, diminished one could be counted to the following interlude, too: • F minor, tenor (mm. 67) • B flat minor, bass (mm. 71) • D flat major, diminished, tenor (mm. 74) Interlude (mm. 75 - 82a). This interlude consists of four sequences, each featuring an entry of the diminished subject, which perform the modulation from the „sad“ keys with flat key signatures used so far (for example E flat minor) to the „triumphant“ keys with sharp key signatures (finally to F sharp major): • D flat major, diminished, tenor (mm. 74) • A flat major, diminished, bass (mm.76) • B major, diminished, soprano (mm. 78) • F sharp major, diminished, alto (mm. 80) Third Verse of the Anthem (mm. 82b – 90). The anthem repeats the last half bar of the second verse and is now in the third verse finally in the brightest major key in F sharp major! The remaining subject entries of the fugue are as follows: • B minor, inverted, bass (mm. 82b) • F sharp minor, diminished, tenor (mm. 85b) • A major, diminished, tenor (mm. 86c) • F sharp major, „tail only“, bass (mm. 89) I hope, you'll enjoy it. Wieland Here is the link to the previous thread with the first part of the fugue:

Many thanks Mark for the kind words! As to playability, I've sent this piece to a virtuoso pianist: so I guess we'll find out! If not, I can always make changes. I know I can't play it at tempo!

I also very much enjoyed your work here with its introspective mood. I do have a question though; measure 28 - can this measure and others be played up to tempo? It appears to require great dexterity. Mark

full piece thread:

Well, yes, trills and tremolos sound rather bad in MuseScore Studio when output with the default "MS Basic" MIDI playback, but I don't like the custom MuseSounds engine either as it's VERY hard to balance dynamically and it's still rather unpolished in some fields where MS Basic is ironically superior. I'd prefer to use VSTs if not the fact using them in MuseScore is even harder than both of the previous options so I have to export the MIDI and use something like FL Studio or REAPER to fix the simple problem. VSTs still may struggle with trills and tremolos though 😉 In the end I just thought MS Basic would be fine this time. If you want I can use a VST to re-export though, no problem on that.

Huh, those two different scales together remain dissonant, even after listening several times. Interestingly, while you separated the two voices clearly, for me the base clarinet „shadows“ the lydian fourth in the soprano, so that its characteristic is not so clearly perceptible. I was just a bit confused whether the score/recording is transposing or not. I think, the score should be read „as is“ since the scales (B lydian vs. G aeolian) are explicitly mentioned in the exercise. But whenever I listen to the recording, I think the clarinets are playing a whole note lower, thus are transposing ... However, very interesting exercise – while I would prefer a slightly more harmonic approach in my own compositions.

A humorous piece that wasn't too short, which I really enjoyed. I could easily imagine a solo violist standing on stage and playing the piece with all the different articulations that a viola can offer! My only criticism concerns—as @Luis Hernández already mentioned—the trills and tremolos. While notation software usually delivers acceptable results for articulations such as staccatos, accents, etc., the automatic unfolding of trills and—even worse—tremolos is usually unusable. To get around this problem, you could try “writing them out” (for this you need a second version of the score, intended only for the MP3 output). I always do this when I use trills and tremolos. In this case, you can “fine-tune” the dynamics of these trills/tremolos, which significantly increases the realism. Thank you for your contribution and welcome to the forum!

@ferrum.wav thank you for your kind feedback and anaylsis! "Fragmented ideas" describe exactly my composing style and process!😄 I am happy you enjoyed the piece and the ideas come through I intentionally left out the musical expressions and markings out of the score (half of it is me being lazy and the other half is that I think music should be freely interpreted by the player) but I do agree I should add the musical markings to be clear. Maybe in the future if I have enough songs to publish a book. That is my dream 🙂

Mother and Son 12-9-25.pdfHi all, Once again I resurrected an old work which needed a dusting off and a new look. It's called Mother and Son ... I describe the playful and sentimental interactions of a Mother and child as they play/interact in the park. Mark

Hi, I really don't quite understand the theory underlying the composition ... (although as a retired professor of social work, clinician, and school administrator ... retired); if you have any questions about a career in social work feel please to ask me. Now about the music ... my only observation is the pairing of the English Horn with the French Horn. I think matching dynamics would be a bit difficult since the timbre and projection of the instruments are quite different especially in the lower and upper registers. The work is quite pleasant to listen to .... and flows quite nicely. Mark

A very beautiful piece that sounds intimate and effective. It sounds like it's being played live, doesn't it?

I don't know why, but it sounds neoclassical to me. I imagine this piece in an 18th-century drawing room. I think it has an intimate, somewhat playful feel to it. Good work on these exercises.

Thanks for everyone's feedback. I'll review the articulations with your suggestions in mind. Mark

It an interesting work ... I didn't find the style repetitive ..... How would you describe your intent here? What are you attempting to accomplish/share with this work? Mark

Thanks! I used a site called Cantamus.