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Here's a piano tune with arrangement I made in the Sonar 8.5 piano roll using my tried and true "same-y" sample libraries. As with most of my "pop" type stuff I usually use a flute-y instrument (usually a synth flute like with this) for the lead melody. Kind of as a place holder or guide for if I should ever include a vocal. This one is a heavily influenced Beatles sort of thing. The main chord progression might sound familiar because it's not terribly original on my part (though I don't think the Beatles ever used it). I'm always unconsciously running my internal musical blender on puree with bits and pieces of this or that song I've heard then stuffed away in my cranial filing cabinet. But it's seldom, if ever, deliberate. If I were a professional song writer I'd likely be spending most of my time in court for plagiarism *hehehe*. Enjoy. -Rick

Hello all, it's me again. Today I brought a happy and dynamic symphonic movement from my 7th Symphony in E minor, which I wrote a little less than 2 years ago. The tempo is Presto in a 6/8 time signature. I tried to create a bright spring mood in the piece. With lots of staccato eighths in the strings and a lively rhythm, it should describe a little ride through nature. From 2:50-3:50 follows a small quiet and somewhat more serious passage which then increases to 4:40 and dissolves into a warm and soft harmony (which to me feels like a warm breeze in spring/summer) from ~5:10 the original motif returns with slight changes and finally ends in a energetic finale. I think the inner structure is quite good so far. The coherence is more recognizable than in some other pieces of mine. But since this piece is already ~2 years old again, I think that's okay. I would like to post a few more of my older favorite pieces and hear your opinions before I move on to what I'm writing right now. About the instrumentation: Woodwinds: 2 flutes 2 Alto Flutes 2 Bass Flutes 2 oboes 1 English Horn 2 Clarinets in Bb 2 bassoons 1 Contrabassoon Brass: 4 French horns in F 1 trumpet 4 trombones 1 bass tuba percussion instruments Timpani tubular bells Strings: 1st violins (14) 2nd violins (10) violas (8) Cellos (8) Double basses (8) Here the Score: 5.Satz, Sinfonie no.7 - Partitur.pdf And the Link: Greetings Nico

Hi everyone! Here's my latest piece. Score to follow. Previous versions were posted as Incomplete Works; but I've expanded the piece a lot this week, and finished it off. The inspiration for this work was Bear McCreary's blog about his music for "Lord Of The Rings" spin-off series "Rings Of Power". He wrote about using the G maj to D flat maj chord progression to represent the Elven land of Valinor. The tritone separation of these chords evokes a sense of a mystical place that's forever out of reach. My piece all grew out of that simple chord progression, and I developed an A-B-A structure. Interested to know whether you think the music flows well, and if my orchestration works? Also whether my renditions are improving? I know the long strings and vocals sound a bit dodgy. Perhaps I should try using Logic Pro to make a better version. Updated versions of the score will be posted further down the thread.

Thanks everyone for your submissions! The competition is now CLOSED to further entries! Check out the results and awards here: Please check out our "From Bits to Bangers" Competition Satisfaction Survey: Please check out the entries in the submissions thread: To vote for your favorite submissions go to the popular voting polls thread: Starting January, 28th, 2023 and running until March, 26th, 2023 (EDIT: the competition has been extended until April 2nd, 2023) Young Composers Forum invites you to participate in another new and unique music composition competition hosted by @Tónskáld, @PeterthePapercomPoser, @Thatguy v2.0, @Omicronrg9, @Henry Ng Tsz Kiu, and @chopin, all of whom will also judge the competition. In this competition you are given a choice of orchestrating, arranging, re-harmonizing, quoting or writing variations on one of 5 given 8-bit music tracks from old video games which you must listen to in order to extract the musical material relevant to you. The entries will be judged on a scale of 0 - 8 in 8 relevant categories: Pick your favorite 8-bit track and transform it in as many ways as you see fit! Make it into a fully fledged composition according to your skills and strengths! Please note that the judges will give you more points the more elements of your composition are original and not simply copied from the relevant 8-bit track. However, the judges should be able to recognize at some point that your composition is derived in some way from the relevant 8-bit track. Feel free to highlight for the listener where in your score you used the relevant 8-bit tracks' theme by showing them in the pdf, mentioning measure numbers, or giving them timestamps from your mp3. Because there were only 9 submissions, the patrons of the competition have decided to give out a $100 1st place prize only. In order to compete: Your composition must not exceed 10 minutes of music Your composition must include an element of the one relevant 8-bit track of your choosing Any instrumentation or choice of ensemble is allowed No age limit One submission per participant Mp3 submission and score/sheet music pdf required $100 1st prize only Deadline: March 26th, 2023 (extended to April 2nd, 2023) Submissions are to be sent to @PeterthePapercomPoser through direct message with the title of the composition as the subject line. He will post the submissions anonymously in a special contest thread for everyone to listen to and consider. Besides attaching a pdf score (without your name in it) and mp3 rendition of your music consider also including a description of your piece for the judges, fellow competitors and young composers at large to better understand your music. Which 8-bit track did you choose to transform "From Bits to Bangers"? Current Entrants: (reply to this thread in order to enter) @sswave @Left Unexplained @WowBroThatWasReallyEdgy @Ferrum @Setthavat @Nico Fantasy @ComposaBoi @Grey Ross @skvlkin @AlexeySavelyev @DanielCComposer @EthaTrue @MrMule96 @Eickso @bkho @luderart @QRose @telliur Choose which of these tracks you would like to transform "From Bits to Bangers" using any means available at your disposal: (for best results please listen on your computer rather than a phone) If the mp3 player below doesn't work for some reason you can find the 5 8-bit tracks here: https://drive.google.com/drive/folders/1eVpdbmW5CXAJ73XRO9IugDFY5oJYGhDn?usp=sharing

Hey everyone! 🙂 This is my first post in the forum, so i greet you all. In this post, I present for review one of my last compositions, called "Into the mystical cave". It is small in duration and it has a soundtrack-like approach as it visualizes a trip through a mystical cave...I tried to put into the music the awe and wonder of exploring beautiful subterranean chambers. I use instruments from all families of the orchestra (and percussion). I would like your constructive opinions on the composition! Enjoy!

+Beautiful impressionistic feeling. At first I thought a quieter part would make a good contrast but, after listening to it a second time, I notice there are many textural contrasts.

Hey Henry, Thank you for your kind words I'm glad that one of you always gets a feedback that is worth me incredibly much! This piece is also something special for me. I think every composer knows the moment when he does not like his own music or is no longer sure if it is good work. But I've always liked this piece even in times when I doubt myself. It's probably because I took a lot of trouble to write it "rousing", it's also different from most of my symphony movements under 7 minutes long because I felt this piece was just right in length. Also this piece I have relatively freely composed from the ear I am interested in the meantime but clearly more for harmony and would like to deepen my knowledge there. What you wrote at the end means a lot to me! Thank you that is the nicest compliment I can imagine and it gives me a lot of confidence and motivation! Thanks a lot! Hey Krisp, Thanks to you as well, I like when the feedback goes into more detail and exposes technical aspects that I didn't even intend or see when composing myself. It's also great to hear some comparisons with other composers. And yes! I love Cinematic composing and I am currently working on my so called "Six Cinematic pieces for orchestra". I cant wait to upload them when they are finished. Um... I use VSL almost exclusively. The Synchrons Strings Pro, Synchron Brass, Synchron-ized Special Editions 1-4. I will purchase new packages soon (Rieger Organ, Vienna Choir and Synchon-ized Solo strings) I cant wait to get my hands on them! I am suprised every day by the possibilities, but mixing the the sound in the end is very challenging, I think I'll never master it completely Nico

Hello, Welcome ! I'm a little new, like you, but I'm twice your age... So congratulations first of all, because everything I hear here is of great mastery. I will write my comments as I listen: During my listening: The opening is fluid and natural. You create the initial wait, before bringing in the mysterious and animated aspect. The instrumentation is faithful to the necessities. Well organized. The climax seems to announce a bit like in the GureLieder of Schönberg, with these small bird songs. Beautiful modulation around 4.30 that was long in coming. I like the overlay hung on the pedal around 5.10. Very well imagined (a kind of modulating harmony that I call "by overflow"). Superb Ravellian progression towards 6'10. All this is very French say so!... Haha. Trumpet solo well in his place. and lyricism that follows really makes you think of the end of "ma mère l'oie". Arrival of a more chopped episode. Then rest around 8'14. Once again, ravelian progression. Well done bravo. The orchestral expansion towards the treble is great. Superb harmonic progression again! Around 10' and well fell back on the oboe solo. (hello Ravel)... (a little Canteloube side too, I don't know if you know, his melodies for voice and orchestra are fantastic). New phase a little more moving with the string tremolos around 12. We feel the energies gathering towards the end. Suspens.. How are you going to bring the final bouquet? I’m waiting...He arrives by a very well written appeasement. Denier trumpet solo, to the unknown soldier. the cinema is not far away. After my listening: All this is very well done. You have a very natural flow and we spend a quarter of an hour listening to all this without seeing the time go by. The rhapsodic side is close to a continuous improvisation, which lets you spare suspended phases where the motifs are expressed very well. And what I particularly like about your writing is a very personal harmonization, a little by overflow, with progressions (for example towards 8), it is a huge strong point of your language in my opinion. Two small things perhaps to consider for a fairly long piece (they are general remarks and I also apply these criticisms to myself, so don't see any negative judgment): - The driving aspect of the orchestra. The orchestra is a big machine that can become static. It always seems important to me to try to find elements that give direction, which can be simple motives, counterpoint, ostinatos, tremolo, or various other means. They are not necessarily necessary, but can precisely guide towards more movement, become a bit like fuel. - The thematic or motivic emergence. Work on a long form is also the place of work on the auditor's memory. It is then very interesting to use a form of thematic construction, which can also be reduced to simple motifs (then an embryonic theme). This activates sometimes unconscious areas of the listener and can act as benchmarks. See how important it is in the great symphonists ( Mahler's themes are epic, childish, tragic characters, who engage whole through colossal movements, in Bruckner, they are not necessarily melodic themes but rather truncated motifs that stack and function a little systematically like harmonic marches, in Sibélius, the motifs seem like micro organisms, then suddenly emerges THE great theme That takes away just like a basalt river In any case, bravissimo, it's great to listen to all this. Long live this forum!

Very nice achievement! The orchestra is well animated by these ostinato. This gives life to your composition. (I find it very important to give a boost to the orchestra and it's successful). The melodic motifs are alive. dialogue well. (a small Mendelssohn side.. The more suspended part towards 3' comes naturally and seems necessary to give a little tranquility. Then fantasy regains its rights, goes through its optimistic and juvenile explorations during the coda. All this is very cinematic, very English adventure film. (maybe a little Hogwarts, or a little Sherlock, that's what comes to mind anyway). The instrumentation is well done, well concordant and logical. I don't know what you use as a sample. I know that you might be surprised by the increased possibilities offered by deeper midi programming in terms of realism and timbre fidelity.

Hi @Schorninator, Thanks for sharing and it's very enjoyable music full of power and vivacity! The flutes are well suited to the mood of spring in this movement! Very refreshing music! I also love the oboe and clarinet melody here as well and I think you know how to use the woodwinds well! I do think the structure here is more clear since the mood is uniform here. I like how you keep the energy running and thus cohering the overall music! That lament in 2:57 is very beautiful with the piccolo in C minor! A very great contrast both in term of mood, key and tempo. You should have used the key signature of 3 flats for the sake of convenience there! A smooth transition back to A major but I just want the section linger a little bit longer as in the da capo form usually used for a Scherzo and Trio. I quite consider this as a Scherzo and Trio with the quick triple time (even it's in 6/8). For me the orchestration is great at portraying the mood and I love this! Thanks for sharing Nico! You have such high quality compositions and you should not have any doubt on yourself! Henry

Hi Alex! I always love your distinctive voice. I love your added material in the A reprise section especially around 4:50 within that C minor section. It's a very beautiful lament there especially with the voices. Your music for me always flows well and differently. I don't think the rendition bad at all! At least it's much better than the Sibelius I am using and normally I don't care about the renditions since I only care about music! Thanks for sharing Alex! Henry

Anyone who has never made a mistake has never tried anything new -Albert Einstein