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Why hello there @Luis Hernández! I have listed, below, some things to help you: 1. It is more common for Horns to be notated in treble cleft these days. This will be help you a lot when you condense the horn parts: Two Treble lines for HR 1, 3 and HR 2, 4. 2. When you have parts are divi, you can use a2. 3. I see a dovetailing/over lapping. Just think logically where the rest should go. On the overall presentation: Great job.

Thank you for listening and commenting. Yes, the high range always gives you pause with these instruments. In fact, in the original piece for piano, there are moments when the tessitura shoots much higher, but I had to think of other ways to express those exaltations. I don't get too complicated with the sound bank because, although I know my way around a DAW, my priority is not to make the sound perfect and realistic, but to write the music and make it sound decent. In other words, what I like is composing. So, what I use is the Dorico editing programme, where I write directly, and I leave the sounds to Noteperformer. Of course, I have taken care to equalise each and every instrument, apply a compressor to the final sound and make some panning and stereo adjustments (all of which can be done in Dorico itself). My own compositions... There will be loads of them on this forum. Some bad, some better. Given that I am an amateur and never stop learning. The thing is, right now I'm focused on learning to orchestrate better, rather than writing my own stuff.

Thank you for listening and for your comments. Yes, the piano version is considerably faster. But when transferring it to an orchestra, or an ensemble like this one, if you don't reduce the tempo, it's difficult to appreciate what's happening. That's why, rather than a literal copy for orchestra, it's a reinterpretation. However, in some parts I had (and still have) doubts. More than because of the ranges and tessitura, but because of what each instrument can do, especially in the runs or fast passages. Best regards.

A short musical quote from "The Occult" by Colin Wilson about Pythagoras incoming! And if you've gotten this far, thanks for reading!

Greetings @Wieland Handke! The response I was writing got lost when I tried to post it, which saddens me considering I went on a very long tirade about how Bach's music cannot conceivably be surpassed and how my admiration for his genius renders my own works insignificant in my view, but perhaps precisely for that same reason it's for the better that such a reply will never see the light of day. At times even I grow concerned by my absolute devotion towards Bach, so stating the obvious a thousand times with different words would only further make it seem like an unhealthy obsession. As for the canons in Die Kunst der Fuge, there are actually 4: Contrapunctus XII at the Octave - in Hypodiapason/alla Ottava, XIII at the Twelfth - alla Duodecima in contrapunto alla Quinta, XIV at the Tenth - alla Decima in contrapunto alla Terza (not to be confused with Contrapunctus XIX, the unfinished Fuga a 3 Soggetti, which is usually presented as Contrapunctus XIV in most of the modern versions that omit the canons) and XV in Augmentation and Inversion - per Augmentationem in Contrario Motu/al roverscio et per augmentationem. There is also one more, found in the Appendix of the Art of the Fugue and often relegated to obscurity in most editions for that very reason, as well as probably because the beginning of its theme until the entry of the 2nd voice is identical to that of Contrapunctus XV, and only then diverges: the canon in Hypodiatessaron al roverscio et per augmentationem perpetuus. As you can see, the format of the title itself had a far greater impact on my own canon's technical conceptualization than the music itself. And regarding the point you're making, I am rather inclined to agree. Shunske Sato arranged the Netherlands Bach Society's recording of the Art of the Fugue so that every couple movements, a chorale would be sung. Perhaps my own canons could serve as interludes instead of being the focal point of a given programme or concert cycle, though for such an outcome a far more monumental and extensive work would need to be composed first.

I tried

making a second version soon!

Thanks for the comment. If you read the "About" section on page 4 of the score, you will find the construction behind the piece and who/ what I sourced for its creation. I did use the orchestration and outline of the second theme from the Sea Hawk Overture as I fell in love with Korngold's music. After spending time studying the Sea Hawk, I knew I wanted to pay homage to his work in my own way. I have no reservations about doing so as it is a not a direct quote, instead using different harmony and melodic skeleton; and to me, only realizes the sounds and feelings I personally heard and felt in my own head. Outside of that one instance, everything else on the score has come from me and has not been quoted from anywhere else. Thanks again for the feedback and you are right, I do reallllyyy love the romantic era lol

Lovely ... so well crafted~! Mark

Hi, Are you familiar with the work of Erich Korngold? Some of you beginning melodies could be directly lifted from his work/style. Your composition has a late romantic quality and would perfectly fit in the movie sound tracks of the 1930's.

Hello @Fugax Contrapunctus! I really enjoyed listening to your revised canon, as it sounds very harmonious and has a constant flow that could perhaps go on forever, musically underscoring the lyrics. As reading your introduction, I see how much effort you’ve invested to make the piece what it ultimately is, and that you have dealt with the challenges to finally find a satisfactory enharmonic notation that is both harmonically correct and easy to read, so I have not gone into detail about your score. Surprisingly, although the rhythmic texture consists of only a few motifs that are repeated dozens, if not hundreds, of times as they move through the voices and instruments, it is not boring, but illuminates the theme from so many different angles until it reaches the coda, which initially introduces more tension and finally resolves. In this context, I am reminded of Bach's D major fugue from WTC2, BWV 874, which also repeats its short fugue subject extensively. Now for some thoughts that should be understood not as criticism but as questions I am asking myself: Your canons, especially this one, are magnificent examples of how contrapuntal imitation techniques can be brought to absolute perfection. However, I am not sure whether a cycle of, say, six or twelve such canons would be presentable in a live performance for an audience other than a highly educated one. For such a purpose, I could imagine that the canons should alternate with “less demanding” pieces, such as fugues, chorales, etc. (That could also be the reason why The Art of Fugue contains only two canons, as far as I remember ...)

On the one hand, yes, it can be less daunting to work on smaller projects at first. On the other hand, you don't seem to be daunted, and look at how much helpful feedback you have gotten by making this brave attempt that can guide you going forward! The bigger the piece, the harder it is to get it performed, but in terms of learning, write what interests you. That will keep you writing, which will keep you improving. 1. If we are never allowed to share what we write until we feel we are on par with Beethoven or Brahms, the world of new music is going to dry up. 2. No one says you need to stop with this single draft, you too can keep revising this piece for twenty years. 3. I bet Beethoven and Brahms shared what they were working on during their 21 and 30 years of sketching and revising, it's how we keep finding new things to fix and are encouraged to keep going, so keep writing, keep revising, and keep sharing periodically. I never learned to knit because though I tried to learn several times, the people who taught me always insisted I start with a scarf, and I would diligently get about a foot in with nice even stitches and be dying of boredom and ask if I could put it down and try a simple pattern for a hat or pair of socks and they would refuse to share the secrets of hats and socks until I had made several more feet of scarf. So if working big is what interests you, to me, that's fine, as long as you don't need the encouragement of seeing things performed, which is easier to get with shorter pieces for smaller groups of musicians. As long as you are interested, you'll keep going, and that means you'll keep learning and improving.

Cry me a River | Cover (1953) : Chorus Variation Cry me a River Chorus Variation.mp3

Here is a (I think) better arrangement of the piece. There are no new parts but I was unsatisfied with the most recent arrangements.

Since this is in essence a revised version of my earlier Enharmonic Perpetual Canon No. 3, whose single contrapuntal flaw replicated across all voices required a modification of an octave leap which ultimately ended up necessitating a transposition of the whole canon a perfect fourth higher, I decided to change the title of the entire series thus far to "Pantonal Perpetual Canons", as the previous title didn't quite serve as an accurate descriptor of the technicalities within the compositional process that gave rise to these pieces. Due to the necessary integral transposition of this work, however, the coda's newly resulting ending key (F-sharp/G-flat major), the only key along with its relative D-sharp/E-flat minor that displays an equal number of accidentals when enharmonized, far too many inconsistencies relating to the enharmonization of melodic intervals can be found in this version. Normally I would have managed to transcribe the melodic theme across all its internal transpositions in a way capable of satisfying apparent melodic continuity throughout the notation process, but due to the ambivalent quality of this key when it comes to enharmonization, not even the coda could be perfectly transcribed without far too many double accidentals. As such, as much as it irks me to see it like this, I have had no choice but to leave the currently notated version of this canon as is. The choral lyrics of this canon (once again, in Latin) translate as follows: "Change is inevitable in all things. Everything flows in the balance of those who are tempestive." As for the coda, its own lyrics further drive the meaning of these aphorisms to greater clarity and realization. YouTube video link:

Welcome To Fabulous Las Vegas Jazz , A Universal Language. Welcome To Fabulous Las Vegas.mp3

@interlect I appreciate the comments! I must admit I am a little confused. The work acts a means to capture differents scenes about the ocean. In order, they read as follows: 1. The Shore | Waves Crashing 2. Sailing over the Waves 3. Swimming | Seeing the sea life 4. Getting lost 5. Seeing a whale 6. Travelling to the shore | Sailing 7. Returning to the shore 8. End The competition also has a minimum length requirement and there is not enough time for me to completely overhaul the piece for the chance of creating something so original it will wow older professional musicians. This has already taken 3 months of work over the last year in on and off periods and is meant to be a little programmatic so it can fit other concert cycles. I think it is both a piece fun to play as an ensemble and fun for the audience as there are a lot of things that one can imagine when listening and not have it feel stagnant. My reservations are with the execution as I feel the flutes, harp or certain instruments will get lost in the texture(s).

Hello MK I would like to be Brutally Honest , and Hyper-Critical in my Review. Starting with : 1: The Cons 2: The Pros "A Call for Scores competition in Colorado" 1: The Cons- I suspect that the Judges will have heard 100's of composition entry's over the years, to the point where they've slightly Switched off, with thoughts of: "We heard it all before", Nothing Original. Your "Intro" to the start of your composition, seems like a waste of time, what are we waiting for, and why are we waiting ? 2: The Pros- Start the Composition @ 3:40 | THIS is where the ACTION starts,and will Wake up the Audience, as well as the judges. Not only will they not be expecting this, but it will also evoke Originality,making you stand out,by elevating your composition to a Whole new level, compared to Who they had to listen to Before,and after your presentation. Your arrangement of the instruments and the quality of the performance,is of a very high Caliber, and shows Experience and wisdom in top quality Composing. I wish you Luck.

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?