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Hi! @arpeggia. I really enjoyed this piece too! the chromaticism, dissonance, the use of accents which makes it sound as if the strong and weak beats subverts what is typical of a waltz, yet still stay consistent enough to be easily recognizable as a waltz, which makes it a very interesting and engaging! A lot of drama within a short span of around one and a half minutes. Well Done! I agree with @PeterthePapercomPoser that would be a good extension if you want, a middle, contrasting part to what already is there. Thks for sharing!

Hello @arpeggia! I really like this piece! To me, I don't see a problem with the title as I think it really fits the pathos of the piece - I would also describe it as perhaps "demented". I think for a piece with only one main section it still manages to stay interesting and create contrast with changes in dynamics and how you subdivide the beat. If you ever think of extending the piece I think it could work as an ABA form with the B section as maybe a slower and more eerie waltz in another key. I can definitely imagine that. Thanks for sharing this really enjoyable demented dance!

Alright, let's get this out of the way. Why would anyone copy you over Rachmaninoff (which they can for free)? Or Mozart (which they can for free), or Beethoven (which they can for free), or... you get my point? Why the annoying diarrheic PCC over the score? Can't you just put your name as a copyright at the bottom of every page? Even if you want to keep your anonymousness, can't you still do that while saying PCC at the bottom? And if you're that paranoid, post it on Youtube or another platform that won't go under in the near future. Once you post online, your piece is copyrighted. And if you're STILL paranoid, why bother posting a score in the first place??? If you said, "hey, I don't feel comfortable posting the score online", no one would fault you. ANYWAY, I agree with our dear beloved friend Henry. Although, I like your more unique approach to the form, and I think it works. One of my favorite things to do musically is to take a form and expand or revise it in some way. Your piece isn't the "typical" sonata form, but you do a lot of cool, almost improvisatory things in the exposition and other moments that in my eyes make the form more of a guideline rather than a concrete formula. Very cool. I listened to this a few times (mostly without the score 😛), and the repeat was crucial to me. It helped create a picture of the form when I would get lost. Very nice. Just when I thought I was getting lost, and even if the themes felt disjointed in difficulty and material, the repeat made it all work, and helped me know where you were once I heard it. Disjointed material can work together, but maybe in the future I would continue to explore ways to make it bond more seamlessly. For instance, your tempo is very rubato throughout, and if you had more sections where we could feel even something as small as a constant rhythmic pulse could do wonders in making your sections more cohesive. You seem to have a flair for the drama, and those moments were my favorite. All in all, very unique to my ears, and a wonderful performance. I love all of the emotion you pour into this; I can feel it with your playing. Your music is thoughtful and evocative, and I'm excited to continue listening to your playing/music. Well done 🙂

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!

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.

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

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

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

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)

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.

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).

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!

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!

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

Thanks for your response! I wrote the lyrics.

Here's my spin on the 1996 Tomb Raider theme, which I expanded the main melody with my own a bit. Let me know what you guys think of it.

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!

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.

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.

I've added the score.

Thank you for the kind words! Interesting to hear what people think about the somewhat dissonant stuff. I'm quite used to it and as it's my own piece there's always a chance that I perceive it as more coherent and conventional than how others might perceive it. Ultimately I prefer slow moving, easy on the mind kind of music. As for a score... maybe in the future... but I'm ashamed to admit that I find that part of composing to be very painful 😄

Took me long enough to share this with you... the timing is also quite good if you consider some of my explanations I guess 01 hw1.mp3 Introduction Context Primer for the music itself Sorry for the walls of text lol, if you prefer just let the music speak for itself it is also fine.

Wow, 4 movements of your sonata? And you recorded all of them? Dude... congrats. Oh ... I see @Henry Ng Tsz Kiu already beat me to it... and he gave feedback on all of the movements? What is he... like everyone's best friend? DAMN Alright, if my bro Henry gave this SO much attention, it will probably BLOW MY MIND, RIGHT??? (I haven't listened yet 😄) I'll check out movement 1 first... brb

Wow, this is incredible! Is this vst or a recording (you?)... I can't even tell anymore. 😄 This was really moving for me personally. The racism I've experienced is nothing compared to Katie Manye, but the line of "I don't sing for people who don't see me" really resonated with me. There have been years of times where I've played guitar and sang for people who could have cared less how much work and love I've put into my craft. But to put hatred on top of that? I can't fathom, and it breaks my heart she left her love of music to pursue another life, but I don't blame her. I would like to think I would have done the same. And to then live for a career in aiding the sick? What a heroine, eh? ❤️ The music is very cool, and composed really well. I listened with and without the score. Without, whenever I got lost, I loved that you kept the "I don't sing" line going, and then I would catch more. With the score, it looks clean and well thought-out; I can tell this one meant a lot to you 🙂 Well done, this is one of my favorites from you.

Honestly, I love that you wrote all of the solo stuff out. How did you write it? The bass sounds real, is that you? Or is it digital? Idk anymore haha. I'm a guitarist, and I love making my tone sound as much as a GUITAR as possible. I've gone back to single coil pickups because of that. Also, I'm not sure why I'm saying any of this... Yeah dude, this rocks. I'm interested in how this is going to work out though. Are you having people record your composed music, then you're piecing it together with editing once you see the video footage? Or are you just responsible for getting the music side of it down with the instrumentalists, and you have no say so post production? All in all, you give everyone tons of space to solo. I'm curious though... I mentioned the solo writing because a lot of times the players themselves play their own take for a solo, especially with jazz. It's part of their culture. Are your composed notes gospel for the players to play, or is your audio an idea of what you want them to play? It was fun to hear the evolution of this. I don't think you overdid any of the soloing, since this isn't a stand-alone piece, it's for film (right?). Otherwise, a change in key or a varied chord progression would be a cool thought too. 😄 Nice job my guy

Hello @Some Guy That writes Music! I listened casually and followed along with the score for the first couple of minutes and the thing that jumped out at me was that you stay diatonic to C major for a huge portion of the beginning before then changing the key signature to Ab major. I'm sure you don't need me to remind you that not all chromaticism has to come from key signature changes and that staying diatonic to any given key for long swaths of time can get pretty tiresome quickly. You could use chromatic neighbor tones or modal exchange where you borrow tones from the parallel minor/major mode. There's lots of other methods to create more harmonic interest. Thanks for sharing!

Hi all! Here's another fragmentary tripartite aria - it's about halfway complete. What do you think about it? What about the word setting?