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This Concludes the "BERMUDA-TRILOGY" Trailer-Series. For those interested in film scoring, a pre composed composition, doesn't always fit the bill,in that it can't create the tension and release at the appropriate times for the Final film cut, so you have to Rearrange the original, even though you felt it was perfect. you cant be to precious about holding on to your first vision.you can see the changes done in the films version. ,compared to the original pdf score. BERMUDA SYMPHONY Stereo Superwide preview.mp3 bsv.mid BSV.pdf

For piano, orchestra or what?

Hello, I got the sheets and followed along with the music for the one in C major. There is a brief part of the piece that sounds like Brahms to my ears... Maybe it's because I don't know much about Brahms and when I hear lullaby I get subconsciously primed to think of Brahms :). From a performance point of view, I found it easier to play the notes differently than how you notated it. IE, instead of playing 3 notes in left hand and 3 notes in right hand, I found it easier to play 4 notes in left hand and 2 notes in right hand sometimes. Dunno if it's worth to do some cross beaming. Hopefully that makes sense.

Schönberg op 11 and op 19.

Hello, I don't know much about Irish music. It all sounds lovely. Some nice unexpected and highly pleasant harmonies in the 3rd one near the end. Thanks for sharing. It's always nice to hear people playing their own arrangements/compositions :)

in my opinion butterfly lovers violin concerto is really underrated and so is chopin nocturne in c# minor or maybe theyre not that underrated idk

im trying to get 100 different people to contribute a variation on paganini caprice 24 if you want to make one then you can reply to this with a png of ur score thx

just what the title says also pls give rating out of 10

The piece in F major is well done. Although it has simple, sparse lines, it all sounds really good to me.

Fair point. I agree with this (without nostalgia, of course). It seems that because people are being exposed to so many musical languages today, there can be an underlying sentiment that "all music is equal". Or else the classical canon is treated as something sacred and inviolable, and its composers above all criticism. Either approach bypasses the hard and necessary work of actually understanding WHAT makes these pieces work, on a level deeper than that of surface rule-following (since rules evolve and change, but the principles behind music don't). Quoting Boulez here: "In order truly to harness the power of the classics, you have to dig deeper, reach down to what made them behave in a particular way, to understand and to analyze their approach. It is not enough to observe the results and to dispossess them (quotation, stylistic imitation, etc.); creativity does not have sufficiently powerful thematicism at its disposal, but becomes spent, though referencing and distorting, no longer able to forge material only for itself."

The reason for that is because it has a low barrier to entry. With synths and sound design, you can hold down a single note and get instant "atmosphere". You can be someone who comes from the EDM world and potentially score a major film. Creating the equivalent with an orchestra is much more difficult and much more work, but the results are always more musical. Directors these days don't really care much about what instruments you use, melody, etc. They just care that it "fits the vibe". A lot of people are mistakenly assuming the directors only want this synth stuff. On my most recent film, I used a mix of synths and orchestra, but I deliberately tried to write in the "old style" as much as possible. The director was never bothered by melody or the orchestra (he had no real requirements regarding instruments), his feedback only ever concerned "vibe" and whether something was too big or small sounding for a given scene.

Talk of "innovation" is a moot point when we are inundated with music that isn't even "good" to begin with. If something is new, but it sucks, then it doesn't matter how different it is. So the conversation is kind of cart before horse. People mistakenly assume, in a world right now of endless remakes, re-releases, etc. that the problem is a lack of "new ideas". The reality is that we, as a society, are not presently able to replicate what made the the old things great in the first place. And if we can't do that, then no "innovative" idea is going to be worth a damn.

Hi @TristanTheTristan! Perhaps I should have said "switching to a different plugin" instead of proposing the word "fix"! It might just be me, but doesn't that Pizz sound a bit... blurry, or muffled? It could just be my ears playing tricks on me (haha). I found myself thinking that something like "Berlin Free Orchestra" or "SSO Discover", whatever has a clearer sound, might have been a better choice. But it comes down to personal preference, so it might not be a big deal after all. In any case, thank you for sharing your work! I liked it! Best, Lithl.

Hi Samuel, These are lovely arrangements, thank you. I was wondering if you might be able to send through the score transcriptions for them? With thanks, Catherine

CALLING ALL ARTISTS! I need someone to help me make the cover page better. Thanks!

Recently, I had a string piece played by high school. The director said he would be honored to play more music from me. :D It is all about creating positive connections.

Hi Guyz .................This track will get renamed, once the final " Bermuda Trilogy " Trailer is completed. BERMUDA SYMPHONY preview.midBSV.pdf BERMUDA SYMPHONY Stereo Superwide preview.mp3

Hi Wieland, Thank you so much for your detailed review! When I encounter the squiggly arpeggiation symbol on a piano chord, I tend to either put these in the harp; or ignore the arpeggiation altogether and make them into block chords distributed across an instrument group. As for the key signature, I'm reliably informed it's nothing to worry about. Not having the option to use open strings is not really a problem, since the string section are trained not to use them anyway, unless specifically indicated in the score. (That's because they're too resonant, and tend to stand out like a sore thumb against the other notes.) Apparently E flat minor is no problem at all for the harp, and does not place any extra strain on the instrument. Also for transposing instruments, they will be looking at a key signature with fewer accidentals: so it doesn't cause them any issues either. I think the idea that this key is a problem is something of a myth. (N.B. The tutor who told me this, has worked with the London Symphony Orchestra: so he definitely knows what he's talking about!)

I really liked it. The beginning at least sounds a bit like the music from the Zelda video game series. Thanks for sharing… definately keep making music like this. I’ll be coming to listen!

@CrystalCanon I think the current landscape of academic music is complicated. On the one hand, the few major venues that remain play it safe and, yes, every now and then, they programme something from the 20th century. Contemporary composers are rarely programmed, and often these are commissions that result in a premiere and little else, with a few exceptions. Ideally, more opportunities should be given to this contemporary music. Another issue concerns composers who build their careers within a closed environment such as music academies or conservatoires, where they have access to musicians to perform their works. As for the idea of learning from all sources and styles, that’s only logical. But it strikes me that many people have little or no interest in listening to, let alone learning how, other styles work. What strikes me even more are those who, when writing music, limit themselves to imitating very specific periods, whilst showing no interest in anything else. And I also agree with your final point. Each person’s preferences influence their objective compositional style. I, for example, thoroughly enjoy the Baroque, the style galant and Romanticism, though I’m less keen on Classicism. And I’ve studied everything from the Renaissance right through to rotational matrices… Yet my preference is for the modern language of music, from Impressionism onwards. In order to start doing something in that vein, I’ve had to spend a long time learning (with great pleasure) about tonal music, and I still enjoy it to this day.

Thank you all for your feedback, and sorry for my slow response! @maestrowick! Thank you so much for taking the time to give such detailed feedback! There’s a lot here for me to think about. I’m glad you think the piece has enough potential to expand further. I originally set out specifically to write something short and relatively simple, so rather than expanding this particular movement into a 10-minute piece, I’ve been thinking it might be interesting to make it part of a suite of several short movements in a similar style. I could keep this movement relatively intimate with flute, harp, and strings, while the additional movements gradually make use of the full orchestra and explore different colors and ideas. That would let me keep the compact character I was aiming for here while still developing the overall concept into something more substantial. Your harp comments are especially helpful. Harp is one of the instruments I’m least familiar with writing for idiomatically, so the explanation about automatically changing hands within the octave figures is exactly the kind of thing I was hoping to learn. I’ll go back through those passages and rethink the beaming and hand distribution, and I like the idea of expanding some of the runs upward into a different register as well. I appreciate the clarinet suggestion too, and I can definitely see how that could open up some interesting harmonic and contrapuntal possibilities. For this piece, though, I think I’d prefer to keep the flute as the only wind instrument. I like the simplicity of having one clearly defined solo voice against the harp and strings, and I think that contrast is part of the character I’m aiming for. And I hadn’t considered alto flute at all! That could be a really interesting alternate version, especially given the atmosphere I was going for. I’ll also go through the specific flute phrasing and notation comments you mentioned. Thanks again — this gives me a lot to experiment with, both in revising this piece and in future writing. @Luis Hernández Thank you! I’m glad you enjoyed the relative simplicity of the piece — that was something I was intentionally trying to preserve. I appreciate the suggestion about violin harmonics. I can definitely see how they could reinforce the ethereal quality, although I think for this piece I prefer the warmer, more direct sound of the strings as written. I wanted the atmosphere to come more from the harmony, register, and texture rather than from extended or more distinctive string colors. @PeterthePapercomPoser Thank you! I’m glad the floating quality came across — that was very much the atmosphere I was trying to create, and I was particularly concerned with keeping the rhythmic motion from feeling too repetitive or mechanical. And yes, writing for the smaller ensemble was a deliberate exercise for me. I usually find myself wanting to add more instruments and colors, so part of the challenge here was seeing how much I could do with a very limited palette. Thanks again everyone for listening and providing feedback!

But you're not implying that composers should imitate all the classical, romantic, and 20th century composers that are getting into programs, right? I don't know--I'm not discouraging eclecticism in any way, but I'm a bit wary of composers imitating other composers simply because they are the ones currently being programmed. Popularity is often a good signal to dig into examine someone's work more closely, examine it's "why". But I think it also pays off to be honest about the music you really like, what inspires you on an intuitive and visceral level. Sometimes it just isn't worth compromising. Agreed--you often don't know what works for you and what doesn't unless you try. The music one listens to can be different from the composers that actually influence your creative processes. You can't develop any kind of original style without all the practical work of trying out many different things (and accumulating many failed sketches in the process!) I think the personality of the composer also has a lot to do with that, besides just the professional/amateur divide. Or maybe those who feel the need to define their singular "personal voice" are also those more likely to commit to a head-on, professional career. But I think both approaches can be quite respectable.

Thank you, CrystalCanon, for your feedback. It was one of the more specific and insightful reviews I've received, a couple of your points overlapped with one of my other reviews (from a friend of mine that specializes in string performance). I think the best course of action for me would be to scale things down and work on some fundamentals before scaling back up to sonatas and larger ensembles. As for the 6/8, I can think of counterexamples from both Brahms and Mozart; what you said about it may still be a point to consider as a guideline, however.

I will check soon! Thank you, and I will notify you when I am done. Btw, what to fix?