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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!

Hi @mossy84! What an amazingly realistic sound rendition! It's too bad you're only using it to write traditional chorales. Imagine what kind of amazing choral pieces you could make if you weren't limited by common practice harmony! Thanks for sharing.

Hi @林家興! What a surprising and accessible sound you create with the slightly swung 16th notes! This soon gives way to a B section that's very jazzy. I really like the slow retransition back to the main material with an accelerando at the end. It's very easy to listen to and understand and you capture this listener's heart with the sparkling and twinkling high piano notes that are like glistening icicles. You display quite a lot of craft in this short and (somewhat) simple little piece. I can't keep myself from listening to this over and over. Thanks for sharing!

Oh Yes.😉

I don't have much to do with cover tunes or video game music these days, but with new Ninja Gaidens and Shinobi games coming out, it appears 2025 is indeed the year the ninja master returned. I have better gear than they did back in '93, so I arranged the theme from Shinobi 3 in the '80s martial arts film score style I believe they were going for on that old Sega soundchip!

Hi @Fugax Contrapunctus! Very cool idea! I actually do something like this harmonically speaking in my Variations on "Deck the Halls" for Piano and Orchestra. I cycle through the whole circle of 5ths twice over before returning back to the home key, although it's not a canon. Very effective orchestration here, starting with just strings, adding woodwinds and then introducing the choir - very multi-dimensional approach to a simple repeating canonic structure. Thanks for sharing!

Hey @Uhor! Thanks to you sharing this composition I realized we're both in the same early music server! I like how you create a rich but oddly calm soundscape in the beginning, only for it to turn more and more menacing as the piece progresses. At first you introduce the night, and the moon. Then the sun rises and creates desolation, even though it is also the giver of life. Your music seems to be a celebration of mostly diatonic dissonance. I like the brass chordal scalar runs up and down around 8:30ish. The music builds through a slow accelerando increasing the momentum. But it doesn't lead to a climax but instead dissipates back down. Around 14ish the music arrives at a big sustained dissonant chord. But it's not overly dissonant, retaining some pan-diatonicism, with the ebb and flow of passing solo Trumpet scales and Trombone counterpoint. Very interesting soundscape - thanks for sharing!

Very NeoBaroque.

Reminds me of Pärt's Cantus in Memoriam of Benjamin Britten, only that it ascends instead. Please consider adding metallic percussion for punctuation and/or harp for arpeggios too.

The basic framework for this canon has been in the works for more than a month now, as the technique I employed in the latest one in order to have all voices enter in every diatonic transposition of the same motif turned out to be contrapuntally insufficient. This time, in order to account for more viable ranges both in instrumental and choral settigs, I reduced the number of voices to 6, even though the core parameters still remain: every voice enters one fifth below the previous one, and instead of diatonic transpositions being treated as though in the same key, every transposition is essentially a real answer throughout, with the integrity of the main theme's melodic intervals kept intact. This entire setup (alongside certain variations when it comes to the disposition and order of entry of each voice so as to accommodate for the instrumental and vocal ranges of the woodwinds and the choir respectively) gives rise to a distinctly chromatic environment of constant modulation leading to a 2nd iteration of the same canon one tritone higher, at which point it keeps rising to meet the octave above and every voice alternates a divisi to prevent the melodies from climbing even higher and thus, yielding a perpetual canon (with a coda at the end for good measure). Lastly, the lyrics in Latin sung by the choir are intended as placeholders with thematic and allegorical significance towards the spirit of the canon itself. YouTube video link:

Heard it all; I've even sounded Baroque and thrown in some Rock & Roll! Good writing and Counterpoint, my man.

Whew, don't need to listen to it all right now, you are a competent composer and sound like me in a baroque mood.