All Activity

If you are aiming to be like Malher, you have huge shoes to fill. Per section: Triple or Quadrable woods, 6-8 horns, 4 trumpets, 4 trombones, 3 tubas (I think a wanger tuba); percusion, and strings. That is a large orchestra to write for. I recommend not writing for that. Not at first. Trying writing for string orchestra first. and then go from there.

Hey everyone, I have just finished completing my newest orchestral work. I have done so for the purposes of a Call for Scores competition in Colorado and I am very excited. I find that the work is completed, however I do feel there is potential for extra material or amendments to the current score. I am a little worried about playability in performance and in the Harp and Horn parts specifically. From my understanding, everything is playable and there may be some challenges. However, I am looking for an extra set of opinions and ears to give me some feedback. I do not mind comments of varying facets, but would prefer specific feedback on ensemble execution and individual parts if able. I appreciate any who comments and am eager to hear your thoughts! ______________________ I am keeping information limited as to avoid the judging panel finding this work before they rate my score. It has yet to be submitted and if you would like to know more about the score, go to the "About" section on page 4! SCORE_Waves of Frisco Bay.pdf

No, it was MuseScore's built in theorbo, in their MS Basic sound font.

The issue has already been fixed. We can now see the whole score.

This sounds awesome! Just curious, was this made using Sound slice?

The Concert Choir of Northwest Missouri State kindly included this piece in their fall 2025 concert program. Thanks to the singers for all their hard work! You can hear them here:

With the Israeli genocidal war on Gaza having only recently "deescalated" under a so-called ceasfire, a new genocidal war launched by the US and Israel against Iran, and the Israeli genocidal war against Lebanon relaunched in full-intensity, as well as the Russian-Ukaraine war going on since 4 years, I think now is as appropriate a time as ever to share this piece I composed last year and myself performed and recorded recently: Three Sententiae for Baritone Solo, Op. 389, "A Prayer for Peace" (Based on Three Biblical Verses). I hope and pray that peace, however elusive it seems in the present, will soon become a reality all over the world.

ROCKY (1976) Theme Cover A Classic Film ROCKY (1976) Theme Cover.mp3

Can you download it or open it in the web browser?

Hello Luis Very Impressed by your Presentation, i presume this is a "Cover" of Mendelssohn. Which means if you can re-create such a Complex piece, then creating your own "Original Composition" will be No Problem at all. Regarding the Production quality, im amazed how Crystal-Clear the treble Range is, i hope to match that pristine sound hopefully one day. In the Meantime i shall be looking out for an Original-Composition from you soon, as i know you can do it, and do it really well.

I can only see the cover page of the score of the pdf....

Hello @Luis Hernández! Having just listened to your orchestration in comparison to the original piano work, I must say that the brass orchestration perfectly matches the character of the “Hunting Song.” The piano version is also beautiful, but it doesn't convey the image of a forest where hunters play before or after the hunt as strongly—perhaps this was also because the recording I heard was at a much faster tempo, which would have been uncomfortable for horns, trumpets, and trombones. In the semiquaver runs, the french horns sound somewhat to „soft“ what might not be the case in a live recording (while the trumpets retain their typical brass timbre), but despite such nitpicks concerning the realism of the software reproduction, the entire piece sounds well balanced and there is nothing „rattling“ (that’s what I call it whenever there is something that had to be improved according to the listening impression). A beautiful, authentic orchestration of a classical piece that captivates with its very own character!

Hello @PeterthePapercomPoser! This piece is cool and absolutely weird! I’m totally confused when I try to listen where the lydian fourth is! It clearly appears in each bar on the first beat (to be read as F#, but transposed as E). However, it sounds not lydian but seems to be somewhat a leading tone to the following G (sounding F). And more interestingly, the long E in bar 3 (sounding as D) has for me the typical lydian character. This must be due to the accompaniment by the phrygian harmony of the strings. The chord [F - Cb – Bb – E] (which is very dissonant) resolves to Bb minor totally absorbing the lydian character of the E! Whereas the Bb major chord [F - Bb - D] in bar 3, second beat brings the expected brightness! This impression is very similar to the combination of the Lydian Augmented and the Spanish Phrygian scales by @Gwendolyn Przyjazna in her Iridescence (progressive rock instrumental), where the (augmented) lydian scale appears to be much „darker“ than traditionally expected and the (spanish) phrygian scale sounds much more „brighter“. So all in all it is a harmonically interesting piece and a brilliant example what can be done using those scales (and not being stuck with only major and minor).

After I while withouth posting anything, I decided to share these two lieder that I wrote for my Harmony lessons. I tried using a chromatic language and I really like the results (although my teacher always finds errors in everything), what do you think?

since I post a lot of songs that aren't relevant to each other, I made a whole thread instead.

Thank you very much! Yes, this score really does have many colors and is only for analytical purposes. But it makes it clearer (especially for me) where the subject entries are, where inversions, augmentations, diminutions etc. occur. Interestingly, I don't usually highlight the countersubject, except in this fugue. And while writing the above explanations, I activated these additional color highlights and noticed that there was a recurring countersubject even used in inversion and for the episode material (which I had already forgotten in the last four years) ... The post with the second part (linked above) contains the “normal” black-and-white score of the entire fugue, which I also prefer to play from.

Thanks for listening! I was inspired by Bachs arias along with French Impressionism. There’s something I find so meaningful to a Bach aria, whether it be the strong and determined bass or the complex chord structure of the high clarion/flute feature. As for the French Impressionism, I am fond of Ravels La Lavse which I first pictured as an organ symphony. This lead me to picture permafrost, a desolate hunk of ice and sediment. Lmk if u have any other questions or thoughts! I plan on sharing the audio/score soon.

Jurassic Park Theme Cover Such a Simple Melody, and yet so Famous. Jurassic Park Theme Cover.mp3

I enjoyed your work .... would you say this is in a "minimalist style"? It would be very helpful to post the score with the recording. Mark

Good catches on the wrong bass tones, I think maybe I labeled them and then changed the notes after. Regarding the last chord, what I was hearing was more a dominant, as a kind of deceptive cadence back into a climb. Set up the phrase to resolve and then instead of resolving, go back into tension.

Hello and welcome back @johannhowitzer! I know you're not going to revise these but, in that first fragment, isn't the penultimate chord an Abmaj7/Db? And speaking of which, the chord before that is labelled as an Fsus2/D but I see an Ab and an Eb in the bass. I personally would find a Cmaj/F chord satisfactory for the last chord. Thanks for sharing!

A+ for presentation, something I lack around here. I love how detailed your score was, and that you posted multiple versions to appease any taste in reading along. I preferred the color coding, as I'll admit I got lost in the thick of dissonance trying to find synergy with the theme, but your score made it very clear and more enjoyable for me. I was really intrigued by the chromaticism and dissonance. It sounded too harsh at times, but the more I listened I got used to the language and texture and it flowed really well for me. Forgive my ignorance, but I've never really been into fugues. I don't know/forget all the intricacies involved, but your ledger of HOW you wrote it was very helpful and dare I say educational for me. The amount of effort you put into detailing your music was enlightening as well as lovely to hear. Thanks for posting this, as well as being involved in the forum! I can't speak for everyone, but the music I post here is barely heard by the people around me, and a community that is aligned with my passion AND that I get to help grow has a special place in my heart. It's people like you that help keep YC alive 🙂 Cheers friend, well done

Just playing around 🙂 Glad there's interest in the badges, I forget about them 😄

yeah, but once you confer with the pianist you'll be able to make necessary edits if need be. It does seem pretty difficult, but I'm curious how it turns out 🙂

I like the idea of logging your progress, it'll help you and probably teach others. Welcome back!