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Wow! This is much better! This exemplifies perfectly very expressive use of chromatic neighbor tones and beautiful suspensions. Even without looking at the score I could immediately hear an improvement in the emotional impact of the music (at least to me). Very well done! It has a somewhat tragic pathos to it - near the end it really rises to a kind of screaming misery that is very affecting! Thanks for sharing!

I agree on both counts. It does seem like 6/8 is a better fit. And, overall, it does seem to me that there are a lot of things that don't seem to come up again. That doesn't go very much with the style of the work. One thing I think you have to watch out for is the textural changes. Suddenly there are two-voice chords, suddenly there are 4 or 5.... You can do all that but I think it requires some kind of preparation.

Why do you call him “horrible”? It doesn't sound like that to me. It is chromatic but tonal and seems quite coherent to me.

Hi Jordan. I enjoyed your use of percussion in this piece at key moments, to drive the narrative forwards. The main theme was catchy, and suited the storyline well. I think the blended orchestration was nice, where you have octave doubling. One thing I would suggest is putting your master score in concert pitch, so it's easier to see the harmonies at play.

Hey guys, a couple weeks ago I posted a study called "luscious" for string orchestra. Today I have it here as an expanded piece. The beginning is nearly the same, expect with an accelerando in the A'' section, so that when the A'' section appears at the end, it has more impact. There are many pieces of advice taken from others, importantly modulation. frankly, these are not fabulous examples of the modulation you have been asking for, as they don't don't happen on the climaxes of melodies, which does not come to me naturally. I'm working on another exercise which will hopefully do that in a convincing manner, however this was more of a brain itch than an effort to improve.

I wrote this back in June 2012 while playing around with dissonant and chromatic tones. This was one of the few pieces that had a dedicated title (I called it "horrible" at the time and just stuck with it). I largely forgot about this until early this year, when I revisited my list of unfinished compositions and discovered that I had already finished this one. I went ahead and revised it (the original was completely unplayable and I had to tone it down, with some refinements of course), and decided to share it with you guys. I hope you enjoy it!

Here's another scherzo for y'all's - Brahms Scherzo in Eb minor Op. 4:

I am watching a Film Noir (in my mind) with a perfect soundtrack accompaniment. I enjoyed the work very much ... loved the style and intent with a great mix of instruments/orchestration and rhythmic tension. Mark

Firstly, the audio rendering is superb and the orchestration engaging. You created a wonderful musical space to sit in and be. As for the which composers influence you ... I personally hear the late romantics as they move into the 20th century. Yes, a bit of Mahler towards the climax of the work as well as others in that specific time reference. Mark

Wonderful woodwind (horn) ensemble writing ... quite delightful/playful in texture and feel with a nice dialogue among the players. However, it is a teaser ... a bit more would be most satisfying. Mark

The rendering in the beginning of the audio is somewhat muddled. The balance among the strings and woodwinds is not distinct/clear. So I found it somewhat difficult to appreciate your attempt here. Maybe more dynamic markings etc. would help. There are lots of lovely melodic heroic themes and the audio/rendering is clearer as your orchestration thins out. Mark

Yes! Thank you!

Totally! You may use my piece in any way to help create an educational video.

This is a beautiful piece @Some Guy That writes Music. I'm talking about key changing in my next video, and would like to demonstrate a portion of this (your modulation from C to Abmajor. The way you modulate this, in my opinion, does work. However you can still tell that the key change is abrupt. And it appears this was your intention. If I demonstrate this I will put a positive spin on it because I actually do like the abrupt key change in this context. But I also feel this is a great way to demonstrate these types of key changes. Let me know!

Hi, it was a bit of a challenge to categorize your style/work: impressionist - minimalist; however, I agree with the above insight as pointillist. I wonder what was your idea/purpose in integrating the choral work? By the way the orchestra has a wonderful texture/color. Mark

I've been reading Kent Kennan's Counterpoint book. But besides that I decided to re-read "The Music Lesson - A Spritual Search for Growth through Music" by Victor L. Wooten. Victor Wooten is hailed as "the Carlos Castaneda of music." Here are a few fragments from the beginning of the book: If you've gotten this far, thanks for reading!

We seriously can learn a lot about how dynamics can create something so expressive after listening to this. I really like how a solo cello sounds, and this is a good example of how instrumentation can be used to create a specific mood. In this case, a mood of restlessness or unease. I'm not sure how you managed to get this clarinet to sound so expressive, but it must have taken a bit of tweaking. I love your motive, using the triplets to create a fun and playful rhythm (but in a dark sense)

When All the Love is Gone.mp3 Slightly mediocre song with sub par lyrics & cruddy vocal. In need of a good singer at a very minimum. But I'm proud of the arrangement at least.

Thank you for again replying to my piece. I appreciate the feedback, I will try to do the emotions you recommended. I will try to modulate a bit this time. Sadness seems like a good place to do so.

Compositions like yours not only push the boundaries of traditional techniques but also offer performers and audiences unique and engaging musical experiences. I'm sure your duo for violin and viola provides a rewarding and enriching performance opportunity for both players and listeners alike.

Thanks for your feedback. I think i'll rewrite it or reuse those ideas in something better thought (mainly because of the awkward unplayable parts).

I forgot to say but there's a PDF link to the score (with standard colors) in the description.

Hey again @MJFOBOE, I like the simplicity of this one. It is a breath of fresh air. It is deceptively simple because the harmony is constantly contradicting itself between modal mixtures which are very affecting and romantic sounding to me. More please! Thanks for sharing.

Hi @Cafebabe! I think the piece seems to be in 6/8 rather than 3/4 since the strong beats in each measure are the 1st and 4th eighth notes - there's clearly 2 main beats in the measure rather than 3. There are some measures that are in 3/4 but imo they happen in the predominant context of 6/8 as a kind of hemiola. The introductory motif in the right hand will be very difficult to play at the speed you have here since there are many consecutive same notes to play in a row which is very unidiomatic writing for the piano. It works in a midi rendition but your performer will either be unable to play it that fast and will have to slow it down or will just kill their wrist trying to play it up to speed. Also - you present a LOT of ideas in a short time, which is why I guess you called this a "Fantasia". You could stretch this material out into a longer piece and flesh out the material more and give your ideas time to speak. The main thing I wish you had more of is unity between your ideas - they should all be related somehow but you overload the listener with lots of variety. The balance between unity and variety is a difficult one that composers have to contend with. I also prefer this score view to the other piece you recently posted which had inverted colors. This is much easier to see and read. Thanks for sharing!

Hey again @Some Guy That writes Music, I really like this piece! I am listening for the first two times casually without the score and it is very touching and true to the emotion you prescribed yourself to emulate! This emotion wheel is a very curious and useful approach towards composition, especially if one wants to write incidental music or music for media. Did you choose to first emulate the "Pleased" emotion followed by "Satisfied"? Technically speaking you've once again managed to write the entirety of your piece in the sole key of A major without any transition or modulation. Just one sole section of exposition without any development. That's fine and it surely suits your purpose well since you managed to write a very content-sounding piece! But from a purely technical viewpoint there is a lack of theme and many of the figurations could be considered to be just "noodling" in the key of A major. In a happy-go-lucky way you wander up and down the A major scale in certain learned way and achieve a very happy sounding feel. As for future challenges - I'd be stoked to hear you write a piece representing "Sadness" - both "Depressed" and "Sorrow" seem good candidates. Overall a very enjoyable piece! Thanks for sharing.