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My dear friend @Kvothe Thank you very much for taking the time to look at it so closely! And yes, I can certainly see why you would describe it as having a sonatina character. What I am actually trying to do with these pieces is to use binary form as a framework, while at the same time incorporating some of the dramatic principles of Classical sonata form into it. So although the structure remains essentially binary, I try to give the B section a more developmental and dramatic function, rather than treating it simply as the second half of a binary form. In that sense, I agree that “sonatina” can be a more precise description than simply “binary”. The binary structure is the foundation, but I am trying to bring the dramatic logic of Classical sonata form into that framework. My strongest influences are Mozart, Schubert, Beethoven and Scarlatti. Schumann and Brahms have also influenced me at times, although perhaps less directly. I actually haven’t listened to that much Clementi, despite the connection you noticed. Thank you again for your observations. It is really interesting for me to see how someone else perceives the formal and dramatic structure of the piece.

Hello Fantastic. I think it captures the romantic spirit of Fauré very well – intimate, aristocratic and with a restrained elegance – acting as a direct bridge between the 19th century and French Impressionism. It all sounds very clear. I just have two comments: 1. Another thing that’s been firmly etched into my mind regarding the orchestra: always reinforce the bass. Because it’s in the part of the audio spectrum that the human ear perceives least clearly. Here it’s carried solely by the double basses; it could be doubled by the cellos, or a horn, or alternated, since you don’t have any bassoons. 2. Finally, I’m not sure if it’s possible to fit mutes onto the violins and viola in such a short space of time (half a bar). Overtones could be used for that effect. Best regards.

Hi I think Fux’s book is entertaining and can teach you a few things, but both the teaching method and the content itself are very outdated. These days, you need to understand counterpoint not only in its Baroque splendour or earlier forms, but also in Classicism, Romanticism and any avant-garde style. As for books on orchestration, my view is that many devote most of their content to the instruments themselves, rather than to orchestration as such. In that sense, the book with the most practical content of this kind is Rimsky-Korsakov’s, though that isn’t very up to date either… To get started with many contemporary compositional techniques, I think Vincent Persichetti’s book is essential.

The "Rolling-Credits-Template" can be Edited to any Film Company's Staff-Credits. The Film Footage was Acquired according to the "Theme-Category" request. When presenting "Media" to third-party's,....................you cant just Talk about it..................... you have to Present it. ps. ........A New "Crescendo compression" has just replaced the original track, for greater "Tension& Release"

Hi @interlect ! Nice video and music! I do wonder about the credits though... "Evelyn Nightmare", "Max Martini" and "Stella Midnight" sound like fake names among many others. Did you get this footage from some website selling stock footage? Thanks for sharing!

Hi @interlect ! It does sound like film score when the protagonists are saving ppl from disasters! Henry

I would like to supplement some information too: I think "Harmony and Voice Leading" by Aldwell and Schachter is the standard textbook for understanding tonal harmony. For me Damschroder's series of Thinking in Harmony and Harmony in XX(Composer's name) is a really good practical series. The 3 volume set is William S Newman's series and I had read the series last summer. Rather teaching Sonata form the series is on the historical change in Sonatas in different musical periods so not neccesarily useful for beginners, but it's a really good read if you want to know the history! Adler's book is a must read on orchestration. I read it this year and it helps me so much on orchestral writing! Henry

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My dead young composers, I think it is time to list resources I enjoy reading and am reading. I will start with more accessible to new composers then go to most advance ones. Every composer, under their toolbelt, should have firm understanding tonal harmony. While the millions of books on the market, it is probably difficult to decide which one to use. This is where your undergraduate course helps you. Professors have thier prefence. Mine used "tonal Harmony" However, if you want to get jump, I suggest two books: Fux treatise on species counterpoint, and Tchaikovsky treatise on harmony. Schoenberg also wrote two books on harmony. Be warned: Schoenberg book on Harmony is like reading book on philosophy. Traditional harmony is fine, but we are currently in modern era where that pushes the boundaries. Thus, book on 20th century harmony should the follow up. There are two books that go through this! I think Peter is going through one. He would reccomded that one. I have that one. And I would agree with his assestion about it. I would also suggest picking up book on Alan Forte and "The music of Bela Bartok" Understanding musical style is important as writer. Therefore, Charles Rosen books "The classical style" and "The romantics" are a must. He links Bach to each period. Speaking of Him, he wrote about Sonatas: Sonatas forms. (I hear there are 3 vol set about sonatas, but his book is more concise). Now to onto musical forms: Analyzing Classical forms and Sonata theory. Both are great books. But start with Schoenberg book on composition. I hope this well you. Also, score study. Share your works as you learn. And choose the best path that works for you. Orchestration is the final step! Rimsky-Korosky, Adler, Brant.

Theres something going on "BEHIND THE SCENES" .......................that your not allowed to know about.

As a type one sonata, I can safely say the following: The tonic pedal under the TR zone is nice touch. Our ears usually want to V pedal while there is key modulates. But a tonic pedal creates tonal stability and fits within type of sonata. Although there is not official ST after TR launch, which is linked to missing MS. We still have closing section, but not a codetta. The sentence structure in the opening is well written: statement and response. The middle section (B) is small development that follows up with A section. Overall, this type fits nicely with in early period of the romantic composers or with in late baroque-early classical period. I imagine you were inspired by Clemente, Scarleti, Schubert, Mozart, etc. Let me know. I just read @Lithl comment and your reply! Yes, I can see how his works would have influence you. We would not think his sonatas as the norm, but back then, sonatinas were. It is right to say it is binary, but more accurately it is sonatina. :D

Another musical quote from "The Occult" by Colin Wilson: And if you've gotten this far, thanks for reading!

Thanks my friend! All the credit goes to my parents and the Lord for the looks LOL

I have yet another orchestration for you today. This was apparently Debussy's last work, which makes it all the more poignant for me to orchestrate. It contains some surprising and fascinating harmonic progressions, pointing the way towards those composers who came after him. I've tried to maintain the furtive and playful nature of the piece, and kept the orchestration as light as possible. I think I've probably gone a bit too high for the trumpet? Might be a bit squeaky and unpleasant up there? Colin Matthews has orchestrated this one, and I listened to his version about a week before crafting mine. Tried not to let it influence me at all, and I haven't looked at his score. Anyhow, looking forward to your thoughts... Debussy - Les soirs illuminés par l'ardeur du charbon #19 (midi).mp3 Debussy - Les soirs illuminés par l'ardeur du charbon #21 (score).pdf

🎬★ 𝗢𝗖𝗘𝗔𝗡 𝗕𝗘𝗥𝗠𝗨𝗗𝗔™ | 𝗠𝗮𝗶𝗻 𝗧𝗶𝘁𝗹𝗲 𝗧𝗵𝗲𝗺𝗲© : 𝗢𝗽𝗲𝗻𝗶𝗻𝗴 𝗖𝗹𝗼𝘀𝗶𝗻𝗴 𝗖𝗿𝗲𝗱𝗶𝘁𝘀 | Don't know how long this is gonna stay Live ★OCEAN BERMUDA™ Main Title Theme© Opening Closing Credits.pdf ★OCEAN BERMUDA™ Main Title Theme© Opening Closing Credits.mid

Hello! I present to you guys my Second Ballo Ongaro, for Strings, Basso continuo and Cornettos. The first Ballo Ongaro i made was roughly in the style of Danischer Simplicimus, wich has a collection of instrumental and vocal music that tries to mimic various styles around europe at his time (Even though most of them were not even close to what it actually sounded like). So in this one i decided to give it a bit of my own style, but still with some details from Simplicimus, wich are mainly the use of a lot of dotted note figures and short phrases. I hope you enjoy! LOB 114 Il Secondo Ballo Ongaro.mp3

Hello! this is a short but lovely Galliard i made for string ensamble, 2 recorders, 2 cornettos and continuo. I hope you guys enjoy! LOB 113 Gagliarda detta La Moderna.mp3

I think it sounds absolutely brilliant. And it’s an impressive piece of work, especially the detail with which you’ve crafted the strings. I also really like the fact that ‘it doesn’t sound like a piano at all, but rather like an orchestra’. And yes, I did want to make a few observations which, as I say, are just that – my opinions. Firstly, I’ve already mentioned the question of key. E flat minor is a brilliant key for the piano, but it’s one of the worst for the orchestra. Berlioz said as much in his treatise, as did Rimsky-Korsakov in his. I don’t know, it seems there’s a bit of a fear of transposing the work a semitone up or down, as if it were sacrilege or as if we were straying terribly from the composer’s intention. I believe that if we’re orchestrating, we have to make the best decisions to ensure it sounds as good as possible. But I’ll say it again, it’s up to each individual. The second point is the choice of the English horn as an instrument throughout the work. It’s not that I think it’s wrong, but I do wonder whether it’s really necessary. Apart from specific cases (Impressionism, etc.) where it can serve as a distinctive ‘colour’ instrument, in the orchestra I believe it is an instrument of extension and should only be used when the two oboes cannot cover the lower register. The opening line, for example, could be played very well by a second oboe. In other instances, even where it is possible, I feel the English horn is in a rather high register. Thirdly, another instrument where I would sometimes have assigned its part to a different instrument is the flute. In bar 15, it is in a low/very low register and will be completely drowned out by the English horn, even with the flutes in A2. I can see the intention to add a different colour to that phrase, which is why they’re doubling, but I’m not sure – in this case, I would have doubled the C an octave higher with a clarinet, for example. The octave doubling of the A-flat flute in bars 52–53… There, Flute 1 completely drowns out Flute 2 because it’s in its brilliant register, and Flute 2 is doing its best. One of the things I was taught on the woodwinds is to try not to double at the octave with the same instrument, because the difference (imbalance) in tone and volume is very great. It’s better to double with another instrument whose range in that other octave is optimal. Well, please excuse all this, as these are minor details in the context of such an extensive and beautifully crafted score, which sounds absolutely marvellous. Finally, a question: what software do you use.... In bars 73 and 74, the clarinets haven’t been condensed I don’t know if you do this manually or if the condensing is automated. I sometimes have those problems and when the programme won’t...

Wonderful job!! Your orchestration really demonstrates an understanding of the instruments and timbre - the color achieved when combining different instrument groups is 👌🏾 I don't really have any other notes. It's really balanced and retains the feel of the original piano piece. Nicely done 😁

Hi Henry: I don't understand why it says E-E there; it used to say E-D. Maybe I'm just being sloppy, but I really appreciate you noticing that just by listening. As a self-taught musician, I "really rely on that kind of help—and just you wait: one day I'll be world-famous, and you can brag about having been my teacher. 😀Thanks.

I always agree with this and think you can never know how to compose unless by composing. To quote Hegel, knowing is always negating since it turns the thing to be known as object, rather than as a subject. However only a subject can compose. A subject is only known by their activity in a continuous sense, so only in the moment you’re composing with inspiration you really “know” how to. I will go further to say music is more than emotional restlessness, it can even be the Spirit’s restlessness express through the composer as the medium to express itself. Henry

Now we have two Eb minor pieces right next to each other! Congratulations on your arrangement. Especially enjoyed your use of muted horns, and viola solos. Seem to remember using the harp even more sparingly in my version.

Thanks Henry. I think it would have to be shared between flutes anyway, otherwise they wouldn't be be able to breathe! I just hadn't got round to marking in the instrument changes yet. I could indeed split the arpeggios across more than just violins and harp, as Luis has done. Will give that a try at some point. It just takes a bit longer to notate.

A 7-voice canon I have been recently working on with the intent of following the rules of counterpoint while employing a somewhat unorthodox usage of extended harmonies and tonally-adjecent suspensions, featured heavily in the minor 2nd intervals produced by the maintained rhythms of each subsequent entry in the opening section. The text corresponds to Bible verse Matthew 28:5, translated as follows: "But the angel said to the women in response: 'Do not be afraid, for I know that you are looking for Jesus, who was crucified'." The addition of the initial "et" conjunction to the Latin text is not present in the Vulgate version of this passage, however its inclusion was deemed necessary to accommodate for the prosodic adaptation of the entire verse across the whole piece without disturbing the flow of the initial suspensions. The choice of the text was based around Bible verses mentioning angelic contact, and more specifically those containing the phrase "fear not"/"be not afraid" as a more secular reference to the niche Biblically-Accurate Angel meme trend which inspired the compositional concept at the core of this piece. YouTube video link: https://youtube.com/shorts/um0jb9Y8iJ4?feature=share Canon at the 2nd a 7 in F-sharp minor.mp3 Canon at the 2nd a 7 Et respondens autem angelus dixit.pdf

The starting key is technically F-sharp minor. I'm guessing you assumed it was E major since the 2nd entry is in its relative minor, C-sharp. The coda is in F-sharp/G-flat major, the relative major of the initial key. Thus, one could say it goes full-circle before the ending. Thank you kindly for your observations. Even though my Pantonal Perpetual Canon series is not yet over, I have been stuck for months on developing others of its type. Even though the contrapuntal possibilities might as well be infinite, the formula and its configuration are now so strictly defined all the parameters involved seem to stifle new ideas and actively work against more unconstrained developments (admittedly an ironic outcome considering the core message of this one canon in particular). As such, I will have to bring it to a pause until I regain the inspiration and creative spark necessary to keep working on them. Until then I should once again focus on choral music due to circumstances I cannot fully disclose yet, but which (with enough luck) may see one of my pieces performed for the first time ever! Although such a dream is still as uncertain as it could be, the mere possibility fills me with hope. Expect future updates on this around the turn of the year!