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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.

I have no fault with the music, but the white on black YouTube score is pretty hard to read. It might be worth adding a more standard pdf of the music here so people can give you more specific feedback. 🙂. Nice job!

Hello again @Some Guy That writes Music! This seems to be in the same keys as that other orchestral piece of yours that I recently reviewed. You seem to have a strong preference for the keys of C major/A minor and Ab major/F minor (the latter is also among my favorite tonalities). But you seem to lack or avoid the potential of transition and modulation in your music. Maybe this is a characteristic of some choral music? But then again, Wagner loved to write choir pieces and he was the "master of transition". Besides having very repetitive lyrics, the piece does stay in each of its tonalities for a long time without any change or accidentals and imo it cries out for some chromaticism! But the piece does achieve a kind of hypnotic effect with some variation and a very melancholy pathos. Thanks for sharing!

Hi all, Here's my new piano composition "Free and Easy". A short waltz like melody .... Hope you enjoy the work. All comments always welcome. Mark

Maybe flutes can play the flurry of notes .... I really like the beginning section "very 20th century Russian" the latter part reminds me of Korngold. I think you have lots of ideas to pull from here. Go for it! Mark

Thank you! The Fauré Thing is a mistake! It is not suposed to Sound like Fauré!

wish I could see the scores... at 1'14 the cello (I think? or is it the viola?) phrase is very beautiful, at 2'35ff. beautiful chromatic tension. I don't know Fauré well, so maybe it's his style, but I think the piece could be even more impactful with, how do I say this, a more "punctuated" structure, more breathing between different phrases and episodes. I like the warmth of the clarinet piece a lot. As before, I would think that sometimes musical phrases are very compressed one against the other. For example, at 44'' in the invention I would expect some kind of interruption of the flow in correspondence to the cadence, but the leading voice continues on. At 1'05-1'10 of the tema con variaciones beautiful piano part and inganno! So interesting and intriguing the beginning of the variation at 3'... Beautiful suite, great job and good luck!!

I like it! It's very balanced, the theme is memorable and there is a very nice dialogue between the parts. Only thing that left me a bit puzzled, the bass part at measures 17-19 (also are there octaves between C and D at 18 and between D and E at 18-19?). Nice work, very enjoyable looking forward to listening to the prelude!

Thanks for your response! I wrote the lyrics.

Hey thanks Peter. The opening Oboe before the Strings melody come in as well as the harp part in the middle are the OST, the rest of the music is original. I'm also, minus some of the noise that is audible with headphones pretty impressed with the production. Everything aside from the harp, trumpets and percussion is musesounds, which I've never tried until now.

You're most welcome, although it seems that you know more technically than I am, therefore all I can offer is my moral support. However, don't hesitate to trust your instincts and let your creativity guide you as you continue to flesh out your musical ideas. Happy composing, and I'm excited to hear how your piece progresses!

In my studies of orchestration I've been doing some exercises, today I'm showing my attempt at the emotion "content" or an appreciation of the world. I got this from a wheel of emotion that I will continue to use for further exercises. I'd appreciate if anyone could challenge me to showing an emotion on this wheel, this way I do something that doesn't just catch my eye. In this exercise I try to keep motion in the Bass to thirds generally, as well as disguising the root to sway away from strict harmonic rhythm. As well as using extended chords that I think end up allowing me to use long held notes in the melody while still being interesting through those whole notes. Let me know what you think.

Do you know if there is a sample out there that I can listen to? I've never seen or heard tubulars being bowed. Only struck with a mallet; which causes it to ring alongside a secondary minor 6th under-pitch. Thanks.

Hey @AngelCityOutlaw! I am not really familiar with the music from Tomb Raider so I don't know how much of this is original and how much comes from the OST. But what I hear sounds great! Not only does it have great production value and great dynamic contrasts, but the material itself is beautiful. Thanks for sharing!

Hi @Layne! This is kinda cool - I like the mixture between major and minor. How much do you know about music theory? It seems sometimes like your chord voicings are kinda stark. Also - even though the ideas in this piece are pretty cool you mostly just repeat the same idea for the whole time (except for that short respite at around 0:50). But you do add unique melodic layers on top of the pattern. It does sound like a secret laboratory though - I can imagine all the beakers, clamps, burners, and microscopes. So great job there! Thanks for sharing.

Hi @olivercomposer! Wow! Kudos on working with a live recording of the lyrics! Did you write the lyrics yourself? They're pretty good! Maybe the "oh's" at the end of each verse/stanza seem a bit melodramatic but I can see why you included them - they act to conclude and create a kind of recurring coda to each verse. I love the modulation into major - that's a great contrast. The production value is pretty good but somewhat disjointed between the instrumental and the audio of the singer which seems (to me) to be of a slightly lower quality than the vst's. I know this is probably meant to be futuristic sounding but to me it sounds more steampunk/gothic. Overall, great job though! Thanks for sharing.

Hi @Symphonic! Very cool - pointillistic sometimes. There is definitely a recurring theme to this although it was quite unusual and disjointed. Or at least very fragmented/dissolute. I like also all the polyrhythms going at different rates. I was going to say - "but where's the gospel choir?" LoL But is this your own arrangement of Amazing Grace or a performance of someone else's arrangement? Either way the performance is quite good! You also don't really explain how the Palette piece is supposed to be connected/related to the Amazing Grace song. At the point at which they connect they're in the same key - at least that much is audible though. Overall this was mostly quite enjoyable! There were a few spots where I felt like you kept me as the listener waiting for something though. But other than that it was great! Thanks for sharing.

Thank you so much much @murphybridget! Here's to hoping to improve this movement and to be inspired for continuation! Currently I'm thinking a fast scherzo (maybe g major) as a second movement, since the first movement is allegro but mostly eights so (I think) feels kinda pulled back. Then a lyrical adagio (a minor or e minor) as third movement and then a final rondò (c major but with important c minor episodes). But as soon as I have a little time I want to work on this first movement... any feedback on what's most urgent of course super appreciated!

Any feedback?

MP3 Play / pause triopf1 SR 0:00 6:14 volume > next menu triopf1 SR > next PDF triopf1 - Full Score You're welcome, and I must say that I enjoyed every minute of listening to your work.

As a composer who has worked very closely with a harpist on (admittedly tonal) music, I am very much in agreement with Gardener's approach. I've thought of this approach, before, myself. Yes, it will leave some holes in the 24-TET multi-octave scale, but good planning by the composer will help greatly. I'm only now dipping my toes into the problems of quarter-tone orchestral writing that (hopefully) won't be a disaster. Bowed strings with their unfocused mass (relative to woodwinds, etc.) and vibrato supposedly make for more convincing performances of quarter-tone harmonies. However, I fear that even professional-level players will be aurally disoriented by the intervals. One possible solution is to use a harp (treated in Gardener's way) to provide a subtle undercurrent of solidly plucked pitches to help orient the ears of the bowed string players. Just a thought... That said, I can speak from experience on the matter of the challenge of "mixed scordatura", which is to say scordatura that varies among the individual strings of a multi-stringed instrument: I composed a short duo for violin and viola - both with mixed scordatura so as to facilitate a Pagannini-ish (albeit much slower) simultaneous left-hand pizz with right-hand bowing of just the right pitches, as well as to facilitate certain quick double-stops to effect four-part polyphony (canons) between the two players. To be safe, I provided TWO versions of the score and parts: One version expressed the notes corresponding to standard fingering. The other version expressed the actual sounded pitches. Initially, the producer forwarded only the version that expressed the fingering (not the sound) - and soon I got the panicked e-mail because the players have perfect pitch and were thoroughly confused by the discrepancy between what they saw and what they heard! Fortunately, I asked the producer to send the OTHER version of my score and parts to the players - and bam - an amazingly good performance ensued.

I've added the score.

Thanks, so much, Thatguy! It's me. I like to sing through things when they are in my range so folks get a better sense of how the lyrics sit in the music at a first listen. Yes, there was apparently a constant stream of abuse and paternalism while they were on tour. At the same time, they were doing sold out concerts in major venues and performing for the British royal family, so the whole experience was... a lot. There is a good historical record of the whole thing from letters that survived. Katie Manye isn't a well-known historical figure. She was a member of a large musical group, not a solo act, and then she went home and did boots on the ground work that does much good, but doesn't earn headlines. What she said really resonated with me too. The nice thing about this one is it's really just a round of "I don't sing," and "All shall be well," with a verse layered on top for interest, so it sounds a bit complicated but you could teach it to someone who doesn't read music, as a campfire song for instance. I'm so glad you enjoyed it! Thanks for taking the time to listen.