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PREVERT!!! 🤣

A Special kind of MELODY that uses Block-Sections | Main Theme + Extended-Credits AIRLINE CLASS VIP .pdf AIRLINE CLASS VIP .mid

Hello everyone, I'm Zhang Wenhao, a singer-songwriter from China. Children's Day is just around the corner, and I'd like to share with you a pure and sweet love song titled "Sweetheart." The best state of love is being able to let down your guard and shed your defenses in front of your partner, returning to your most innocent and simple self—like a child. I've met someone like that, and fortunately, I am also the one who can make her feel like a child again. That's why I wrote this heartfelt love letter to my beloved. 大家好，我是来自中国的创作歌手张文灏。马上要到儿童节了，在这里跟大家分享一首纯真、甜蜜的情歌《小朋友》。 爱情最好的状态，就是能在对方面前卸下心防与外壳，回归到最天真、单纯的本性，像纯真的小朋友一样。我遇到了这样一个人，而幸运的是，我也是能让她成为小朋友的那个人。于是我写下了这首向心爱之人最真挚的告白之歌。 lyric/歌词： compose/作曲：张文灏 lyricist/作词：张文灏 producer/制作人：张文灏 周勇先 你可曾知道吗我的小朋友 当我第一次见你的时候 我的耳畔响起了 动人前奏 你不经意留下了温柔 你可也憧憬吗我的小朋友 憧憬着和我一起到白头 到那时候两个人 依然保有 第一次牵手时的心动 一起走在 小径一路聊聊天 仍有爱意淌在眼眸间 仍不能拒绝 你美丽的笑靥 仍然对你心动对你迷恋 一起走过 平淡的漫长岁月 不让炙热的初心冷却 用一生时间 陪在你的身边 酿作成我们的蜜语甜言 到那时候 已白发苍苍还能够 亲昵地再叫你小朋友 张文灏-小朋友.mp3

What MUCK! –SUCK—O CHARMANTE MUCK, SUCK! You know what pleases me! means I will leave to you guys! 🤣📯🎷🎤🔔 😎

Was also researching Mozart's famous "CHUCK MUCK" letter, to his first cousin he called Bäsle who he was well, at 22 in 1778, and the rest of the letter has some particularly scatological puns that I will leave out, but is very long in a big text wall, because he was to be going to be going to see her soon, and the rest is very well written, but MUCK, CHUCK! –MUCK! –SUCK—O CHARMANTE! Mozart was just punning on a certain English cuss word beginning with F that he particularly liked! Mozart liked English and always wanted to learn it. He loved to say "good night" to his family every night and giggle at it, though gute nacht is almost the same! Muck, Chuck! | Mozartrazom

I wrote my first string quartet. I liked it while I was writing it, but now listening back I'm not so sure it would keep the attention of listeners. Maybe I regret opening with a slow movement. I think 2nd movement is best. I like the section in 3rd mvt. from 15:25 to 17:08, because of those chords and the counterpoint. And maybe I should have used more modern harmony in places to spice it up. 00:00 Movement I. 07:27 Movement II. 13:22 Movement III. Od. G. - String Quartet No. 1.mp3 Od. G. - String Quartet No. 1 [2026-05-29_06-41-34] .pdf

lol

I found myself on fat-finger spell check in the middle of an e-mail and was interrupted by a female friend of mine who comes most every day to help me clean, and was living with me since this past October, until about a week ago when she got her own place, and what I returned to was Whither in the livin. It was to her and I was talking about cleaning, and I was saying "whether in the living room or in the computer room." When the curtain is lifted in Act 1 of Mozart's Die Zauberflöte, the prince Tamino is being chased by a giant slithering snake, when the Queen of the Night's three Warrior Hunettes armed with bows slay the snake and rescue Tamino. He didn't know what he was getting into! He fell in with the Königen der Nacht. How much sense does the plot of Die Zauberflöte make? About as much in English as in German: absolutely none. I was communicating with Jackie and got stopped by that "writher in the livin" but it got me to thinking...Writher, Slither; that Schlang chasing Tamino was just slitherin' in the livin! Those Three Warrior Hunettes perforated him and ruined his day. If I were a snake, I would be slitherin' in the livin' too! 🤣

Wow even more attractive haha!

I had to bump this myself; confirmed myself this morning that this is just the second copy; anything else is a missing accidental, and I really need to watch myself on unnecessarily anal courtesy accidentals! If ever performed, the suite is easily excerpt-able as: Three Piano Pieces I. Barcarolle II. Allegro III. Toccata These two are obviously composer joke pieces; bad intentionally. II. Fuga Academica IV. Blues

Can be Fattening.................................If you have more that 10 Packets a day

Hello I’ll share my experiences as an amateur ‘composer’, though I do have extensive training (both self-taught and formal) in harmony, counterpoint, fugue, etc... and I’m currently working on orchestration. At first glance, it might seem that a concerto for a solo instrument and orchestra is easier than writing for an orchestra on its own. Because you think: “Ah, as there’s a soloist, it’s easy for them to take the lead and develop everything, etc.” But I believe the opposite is true. With a solo instrument and orchestra, the compositional difficulty multiplies, unless you want to limit yourself to a soloist and a few instruments playing chords. I think a good progression for composing is: 1) Write for piano. Even if it isn’t your main instrument, get hold of a MIDI piano, study how the classical composers wrote, and keep practising until your piano writing sounds natural (like proper piano music, not just a series of chord blocks). I see it this way because the piano is polyphonic and allows you to sketch out anything. 2) Write for small ensembles: string orchestra, small early classical-style orchestra. 3) Expand your palette by thoughtfully enlarging the orchestra. More instruments doesn’t necessarily make it better. 4) I always study the orchestration. Know about each instrument, its origin (which explains a lot about why an instrument is the way it is), what dynamics, ranges and articulations are possible, and at a ‘normal’ orchestral level. It makes no sense to write extremely difficult parts for orchestral sections. 5) And finally. Add a solo instrument. You can write short pieces. That’s what I’ve done so far with soloists. You need to understand very, very well how an instrument works to develop it as a solo part. Even Brahms consulted the violinist J. Joachim on his violin concerto.

Welcome to forum, what instrument(s) have you been playing?

I remember it's high B?

The YCF chocolate looks really yummy!

@BipolarComposer Hello, perhaps I didn’t explain myself clearly. I didn’t mean that the register is too high for the bassoon in that passage, but rather that in such high passages, the part is usually written in tenor clef.

Mozart also did it in the Marriage of Figaro overture. Around measure 217 (my score of that doesn’t have measure numbers so I might have missed counted) with the Bassoon playing the melody, up to a high G at piano.

Hello @Mango ! Welcome! I think if you really want to just try the genre you can write a basic beginner's concerto based on some specific technique that you know beginner cellists learn. Look at some scores of existing cello pieces or concerti or watch YouTube demonstrations of cello techniques and use those techniques to build a basic melodic motif that you'll use in your concerto. That's how I would approach it! Great question!

Yes, he did!

Hi @Mango , Welcome to the forum! Why don't you write a concerto for an instrument you are familiar with? Writing a concerto requires a more thorough understanding of the solo instrument to allow an idiomatic and virtuosic display of the instrument. Maybe you can start with a cello sonata first? That would really help you know more about the instrument before using it in a more virtuosic setting with an orchestral background. Henry

I am trying to write a cello concerto but I do not know how to play the cello

Also for @Luis Hernández bringing up the instrumental issue, I think Stravinsky intentionally used the high register of Bassoon for that nasal timbre, which works really well for being the “Augurs” of spring in the introduction and for later movement. I think Stravinsky works really well there. I don't think it's hard for Bassoonist to play mp in high register, since in the high register it’s easier for them to play mp than f, given the nature of double reed instruments (same for oboe and cor anglais.) Henry

As promised yesterday, here is the YouTube-video of the piece which I suggest to watch, since it automatically pages thru the score (sorry for the advertisement). For more background, here are a few YouTube-links with scenes from the Berlin S-Bahn in the 1980s which are characteristic for that time and have inspired me for the A-part of the piece: Scene on the platform, closing the doors and departure of the train: https://youtu.be/F-oexAoylmI?t=1461 „With a jolt, the train starts moving.“ … „The train is passing a railroad crossing.“ https://youtu.be/F-oexAoylmI?t=736 „The train stops and makes its typical hissing sound when the compressed air escapes.“ https://youtu.be/F-oexAoylmI?t=486 As a kind of „non-AI proof“ I also attached my „working score“ from which the MIDI is generated. It is nearly unreadable and of cause not intended for playing but shows in detail all dynamics, articulations, agogics etc. I applied to achieve the final recording. Finally, there is an audio of the „concerto“ by a number of nightingales in a park I recorded in April 2025. Nightingales-in-Berlin.mp3 WORKING-SCORE-P17.pdf

Ah yes...the infamous bassoon passage form the rite of spring. That did not go well.

For the Bassoon, I get your point, however, in the Rite of Spring, Stravinsky has the Bassoon start on a high F at mezzo-piano and in the “Kiss of the Earth” section, he has it hold a high E for three measures at piano. So, it is possible.