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  1. 3 points
    Greetings YC Family! It's been a long time since I made a post and visited the forum. For those of you who may recognize me, you know that I was once an administrator on this site. My years on here have aided me in my ventures within the past decade. One of these ventures was the setup and creation of an online radio station devoted solely to promoting the works of new and emerging composers. This post, thus, serves two purposes: 1. To promote Et Lux Radio and encourage each and everyone of you to listen to the music of your peers as it is broadcast 24/7. and... 2. Make a formal call for live, or rendered, recordings of your works along with a signed affidavit giving Et Lux Radio permission to include the works within its broadcast. Submitted recordings need to be downloadable and in .mp3 format. They can be for any instrumentation and must be under 25 mins in length. Please include in your submission a brief biography and any related program notes for your works. Submissions can be emailed to jaowoodr@gmail.com! Thanks and I look forward to hearing your works!
  2. 3 points
    I could also write about some of our history, which could be quite interesting. We'd need to get a few of our old guard members on board to help though.
  3. 3 points
    This is Wildflowers, one of my original compositions! Thanks for checking it out, feel free to comment questions or feedback. :)
  4. 3 points
    This is what happens when you have to write daily pieces and you get bored with writing crap. I'm quite proud of this work, even though it may not be conventional in any sense of the word. I hope you enjoy this one!
  5. 3 points
    This piece was supposed to be an introit or "requiem" movement to a requiem I was writing until I realized I hate writing with established formats (i.e. symphony, sonata, etc.) so this piece remains as is. As such, the final buildup was planned to up an octave and take two phrases instead of one to descend the second time through, but I never wrote a "second time through" so what's here is what's here. Enjoy!
  6. 3 points
    I have had the good fortune to live on Central Park in New York for six years. I’ve had the place all to myself in the winter and have had to share it with tourists in the summer. It has many points of interest, such that each are singular and need no colorful qualification. There is The Lake, The Pond, The Meer and The Beach (yes, the park has a real beach). The Sheep Meadow, The Bridal Path, The Boathouse, and so on. One of each. And the Carousel. That too, unique, except for the children who are always the same at five years old. Their mothers bring them here to go around on the wooden horses as the motor cranks up and up and up and the jangly circus music begins, and all the many little hearts that beat so fast in their fearless joy … I wanted to share this little vignette with you. Sorry, no score, but I can give you the instrumentation. 2 clarinets, 1 bassoon, 1 Horn in F, Bb trumpet, piano, harp, glockenspiel and strings.
  7. 2 points
    You and the Rain, for strings orchestra. A piece I wrote in 1 day, having a cold, being unable to go outside, waiting for my girlfriend to come to see me, while raining outside... Never have written so fast before, definitely she makes the difference.
  8. 2 points
    Hi :D Here i've got something with athmosphere of virgin valley. I wanted to has it as a short intro, like exploration suite in the game. Some kind of stronger ambient, but the main target was to achieve emotional aura and feeling of this beautiful land. I'm very interesting about your opinion with this super-easy short arrangement, melody and harmony. :) Hope You like it! >> Youtube - Primeval Valley <<
  9. 2 points
    I would contact one of the organizers. Small percussion instruments can include cymbals, woodblocks, tambourine, and more.
  10. 2 points
    Thanks for the reminder, I have it in mind, just staying on hold in case I get a better inspiration.
  11. 2 points
    Hey people would love some feedback on this track :) please criticize the crap out of it if you want - anything is welcome. Thanks guys, your input has shaped my composing more than i can express and I appreciate and value every word of it.
  12. 2 points
    Thanks @Maarten Bauer it's funny and I like the variation of @MusicianXX12, waiting for more. I'll do another one some of these days, but now that I have my new computer ready and all my files have been recovered I'll be working this weekend on the article for the Magazine....
  13. 2 points
    Hi peeps, Recently started composing again. Forgot that I even had an account on here from nearly 10 years ago, I feel old. Been trying to put together a sound for a film I'm working on at the moment. It's set mainly in the Australian bush, so I'm trying to go for a very raw, exposed sound. I've put up just one example. I've listened to it so much lately, it would be nice to get some second opinions. Please be as harsh as you like. Still trying to find "my sound"... Thanks!
  14. 2 points
    Hello everybody, Would it not be fantastic if Young Composers had its own special Magazine composed by the creative members of the forum? Since a few weeks I have been thinking about this idea. I already made a few magazines with the free program called Jilster (https://www.jilster.com/). The advantage of this program is that I (as a chief editor) can give specific pages to other people so that many people can work on one single magazine. The program is very ergonomic: I learned the things I needed to know in one hour of experimenting. Because the idea is still quite vage, I decided to schelude the magazine. This link leads you to the magazine in which you can see the topics I would like to include. https://jil.st/YoungComposersMagazinePreview Before I begin to write for this magazine, I would like to know if you would appreciate it. Could it be an valuable addition to the forum?I would also like to know if some of you are interested to help me. If you want to write about a topic that is not mentioned in this megazine scheme, do not be disappointed. I can give you several pages on which you can write about what you want. Furthermore, if you are interested send me a private message. I am very enthousiast, but of course we all have to be! Please be honest. Maarten *I know that not everybody has all free time to spend on writing and laying out the articles (including me), so there will not be a deadline. It is something extra and it has no priority.
  15. 2 points
    I was randomly bored, and an idea came out of nowhere to my mind. A collaboration of multi-genres! The idea is, every composer taking part will create a small composition that fits with the theme of the full composition. The combination of different genres might not always sound like a decent idea, but it can work. And with the skills of the composers in this forum it can work very well.. but we encounter an issue which is the difference of tools used.. Therefore, lots of mixing and editing will have to go into this (I can do that, unless anyone feels they're more capable.. I'm not the best at it), it won't be an easy project unless we want some crappy result. Based on the number of participants the segments will be divided. Also the full length of the composition will be voted on once there's a decent number of participants of about 4 or more. So basically, I'll have to start the composition, giving a general idea on the theme to be followed, for example.. grief.. victory.. relief.. misery.. etc... But before that, what are you opinions of this idea? Participants @Maarten Bauer @Monarcheon @ilv
  16. 2 points
    Hi Maarten, Two questions: 1. Can we just include the initials YC? Or should we spell out the full name "Young Composers"? 2. Do we have to create a separate logo and favicon, or will the same design work for both? Or maybe make the second answer "Maybe"!
  17. 2 points
    Who told you that you cannot sing or is it your own opinion? If you love to sing, sing! Listening to all kinds of music (Popular, Jazz, Reggae, Classical etc.) is very important too. Try to figure out why the music sounds the way it sounds and why it contains the emotions you feel. Which chords are used and what is its effect? Which instruments? Which rhythm? Which dynamics? Acoustic or electric? And so forth.
  18. 2 points
    Oops... sometimes my ratio leaves me alone. I will change it, thanks!
  19. 2 points
    I don't think there are any manuals to know what to do. But, on the other hand, I don't think either you need lots of years to reach a good level. Of course, you never stop studying music. Perhaps, in your case, you should focus on the scales of each chord. That includes what notes are chord notes, what are tensions, and what are avoid notes. You start with major mode and its seven chords-scales. In melody, to be sure, you put chord tones and tensions in strong places, and every note you want, including avoid notes and crhomatic ones in weak places. What are strong points? The beginning of the measure, an also the beginning of every division of the measure. Also, a tone followed by leap or by silence becomes a strong note... Well, there are many things about this. And besides, when you know the essentials, you can break the rules and make other things supposedly "wrong". Being self-taught is hard, many times you don't know if you are right or wrong, if you don't have anybody to tell you. But being self-taught is also a challenge.
  20. 2 points
    I wrote a piece for my orchestra director a while back as our graduating class left his instruction and I was so awful at modulations. Like, they work, but they're embarrassing. The standard issues like modulation and crossed voices are here sometimes, but generally I think the classical nature of it works, but it's too docile for the energy I see in the orchestration. I think you can also spend time on dynamics more; it's really vague and/or general when some of your lines don't exactly lend themselves to interpretation as easily.
  21. 2 points
    Chopin asked a bunch of older members (which made me revisit the site) looks good. I see old and new names :)
  22. 2 points
    A few of you may remember this as Sketch No. 100 on this site, but I revisited it, updated it, and quite like the end result. A friend will be performing it for her recital in June. Enjoy!
  23. 2 points
    Hello Vadrif, Actually, it's nice, but too short in my opinion. You already set the atmosphere of the piece and although I don't listen to this kind of music very often, I like it very much (so far). When you extend this piece, make sure that there is enough variation in instrumentation, orchestration, dynamics, harmony etc. Otherwise the music could sound too monotonous. One of the biggest nightmares a composer can have is a lack of inspiration. I have the same now in the last two weeks; I erase every note that I have just written down. Horrible! If you become lazy, I would recommend not to continue composing in this piece for now. Look for inspiration instead of trying to compose something without inspiration. Simultaneously, you can work on other pieces for which you do have inspiration and motivation to finish them. When you have inspiration again for this piece, try to extend it! Good luck! Maarten
  24. 2 points
  25. 2 points
    Hi, I'm new at this forum and at writing music. Had a go on a orchestral piece about pirates. Please feel free to listen and criticize. Any input is very valuable :) Cheers!
  26. 2 points
    Splendid! I have no critique on the music itself. Your rhythms are very nice and interesting! Harmony is nice too. As a saxophonist, I love that you have considered to write for saxophone quartet. Sometimes the music of the Prelude reminds me of some Mario Kart songs. The melodies are simple, but still blend well with the complex rhythms. Make sure that the baritone saxophone for which you write has a low A key. Some have it and some don't. Check it! You prove in this Prelude that you master the saxophone writing skill. The tongue slaps will add an extra dimension when the music is performed by real musicians. The Fugue reminds me of Bach, I don't know which piece, but it's also in 9/8. I think it's one of the 15 inventions in G (major or minor). This movement is my favourite, because all voices are independent, yet they form a very dense atmosphere. The saxophone has an octave key, which makes it possible to play an octave higher without having to press many other fingerings for playing the same note, but then an octave higher: If you want to play a low G (written) and then a high G, you will first have the fingering of the low G and when playing the high G you only have to add the octave key. When playing legato and ascending from a G to a high G the transition is very smooth, but when playing legato and descending from high G to low G there can be a 'sob.' Especially the transitions from middle D, E and F (with octave key) to any other note without the octave key can be hard to not let it sob. The problem is that your main theme contains many of these intervals: m. 84 D* - G; m.85 E* - F#; etc. Saxophonist can train to prevent this sob effect, but it depends on the level of the players. You shouldn't worry that much about this problem, because it occurs in almost every piece. However, I think it's useful for you to know this information. The third movement is very nice. It stimilates me to dance! M.179. Tenor. The D - Eb trill is very awkward and almost impossible, you have to change that. Mm. 211 - 214 + mm. 247 - 249. Baritone. Don't 8va in any saxophone part. We hate to read it, because we can't, honestly. All notes should be written normal, i.e. without octave clefs or 8va lines, except when writing in the altissimo register. However, even then the notes are mostly written without any 'reading supports.' By the way, I would delete all the saxophone names, except the names on the first line of each movement. There are namely no other instruments than these four saxophones, so you don't have to indicate these at every line in the score. Can you tell me why you change the key signatures in the music? I tend to make more accidental mistakes when the music is full of key changes than when there is no key signature (or one) and all accidentals are written in front of the notes. Why don't you stop with one key signature? Overall I love it! Note that the feedback I give to you are mostly details and finishing touches. This is because I see that you already know basics about the saxophone family. The music is wonderful and I look forward to hear the recording of the music performed by actual players. Kind regards, Maarten *Thank you for tagging me! @Monarcheon
  27. 2 points
    For woodwinds and strings, this was inspired by a Tom Waits song that poses the question, 'Who will put flowers on a flower's grave?' I'm kind of fond of it, but my opinion doesn't count cuz I'm the composer. What do you think, YC's? Here is a youtube video of the music:
  28. 2 points
    Wow. What a great, nice job. This Form works fine with this language. And I think you've fulfilled the expectations of the Mosaic Form (every part is part of a cointinuum with no beginning-no end). I'm glad you've used this contemporary harmony. Very well balanced, it's modern enough but it has also a classic feeling. I suppose you studied that Stravinsky's symphony... The score is full of indication, as it has to be. Congrats! I love it.
  29. 2 points
    Hello, To be honest, I have no idea how a Viennese piano waltz sounds like. I only know orchestral versions by the Viennese maestros. The waltzes sound very Chopinesque to me, despite you say in the description you tried to compose in the Viennese style. Some parts sound very improvised. Can you give me example of Viennese piano waltzes? I am astonished by your modulations. They sound very natural and logical. The melodies are beautiful too. The sixth waltz is too repetitive in my opinion, because you only have one rythmic patern and you repeat this patern for more than one minute. Cutting the repetition bars out would probably solve the problem. Your audio sounds pretty nice for a piece played by notation software. Which program / soundfont do you use? Overall well done! Maarten
  30. 2 points
    Hi I've been working on something simple but funny (for me). Inspired in the life of my cats, I'm doing a king of little suite for flute, clarinet and piano. The clarinet is not transposed in the score. Well, music for me is this, too... T I've written too pieces (working on more): Awakening: the moment when the all come back from the dreamworld. Purring: including the sound of Dexter.
  31. 2 points
    Thanks guys! Byron was a Briard. In Spanish we say "Pastor de Brie". The others (in the video) are Spanish Waterdogs.
  32. 2 points
    This is looking very promising. Do you reckon it'd be worth putting in some samples of what these techniques sound like or linking an online resource (website/Youtube channel) that has them?
  33. 2 points
    To me it sounds like film music, from an old movie. It is nice, relaxing music. Try to search it here: http://www.musipedia.org/
  34. 2 points
    This falls squarely under the category of "what do y'all think of this?" I here present for your consideration the charming villancico "Llegad, moradores de aqueste pensil" by Spanish-born Mexican composer Francisco Martinez de la Costa (1739-1769?). The work was composed for the Solemnity of St. Peter at Oaxaca Cathedral, Mexico, sometime between 1765 and 1769, and is scored for vocal soloists, mixed chorus, trumpet, strings, and continuo (baroque guitar and portative organ, if I remember rightly). The linked recording is of a performance of this work by the Austin Baroque Orchestra and Chorus (I am a member of both) in November, 2015 at historic Mission Concepcion (1731) in San Antonio, Texas. This work has never been published, remaining in manuscript form in the archives of Oaxaca Cathedral, and this performance was probably one of the first anywhere in nearly 200 years, and almost certainly the first in the United States. The performing edition was prepared by ABO's director, Billy Traylor. For those who may not know (most of us), a villancico is a vocal work based on a specific poetical form; it usually consists of a chorus (estribillo) followed by several verses (coplas) and a final repetition of the chorus. Villancicos were extremely popular in Spain and Portugal and their Latin American colonies from the late 15th through 18th Centuries. Some are religious, like this one, but there are many secular villancicos as well. Very little is know of the life of Martinez de la Costa. He was born and trained in Spain, and by 1765 he had become maestro de capilla of Oaxaca Cathedral in the south of Mexico. In 1769 he requested a leave of absence to return to Spain to take care of some of his father's business, and was never heard from again. It is presumed he died while at sea on the voyage home. Now that you know more about villancicos and this unfortunate young Mexican composer than you ever thought you wanted, have a listen to this delightful, quirky little piece. The writing is nothing if not unique and individual. I'll be interested to know what you think. Cheers! https://soundcloud.com/austinbaroqueorchestra/llegad-moradores
  35. 2 points
    This isn't really my arena so I have no recommendations. ... it's just funny to me that >30-year-old texts are ideal for studying "contemporary" music ... Why not look towards actual contemporary music...like, from this decade?
  36. 2 points
    Hi @Monarcheon and @danishali903, thank you both for the great feedback. I'm definitely going to go back and look at some things. Congratulations to all the entrants. I enjoyed each of your pieces. @Connor_Helms, I'm sure I'll grok your piece some time this century. @Noah Brode, if you choose to keep working on your piece, I'll be happy to help you get it ready for a band. It's good and it should be played.
  37. 2 points
    Hi Justin - I think this is great. The clarinet part has a wonderful mix of virtuosity and lyricism, the piano part (and its interactions with the clarinet) is well-developed, and the harmonic changes and large-scale tension are handled expertly. You obviously know what you're doing, so please take my criticisms/suggestions with a grain of salt. As to where to go next, if it were me, I would ask myself: What do you want the "shape" of the recap to be? (Do you want the end of the development to be the emotional climax of the piece, or do you want to build all the way to the coda?) What should the character of the ending be (or, if you're thinking like Beethoven, which theme should be "triumphant"? You have such a big contrast between your first and 2nd themes, maybe you could exploit it more in the final section). One thing I would definitely get rid of, though, is the resolution at m. 360 (unless you want the movement to end within the next 10 measures). Otherwise, if you want to go on, you'll have to restart both the rhythmic and harmonic energy from scratch, and this can be difficult to do so late in the piece without losing the listener's attention. The piano part builds so nicely through most of the recap of Theme 2... what if you kept that energy going to transition into a more driving, climactic section instead of coming back down so soon (around m. 351)? I like the variety of harmonic ideas and characters in the movement (e.g. the contrast the 2nd theme provides--please keep it!) and I think you handle the transitions between them very well for the most part. A few of them seemed a little abrupt to me, though (off the top of my head, m. 183 and its counterpart at m. 314). I think this is just because you're resolving to tonic triads prematurely here, and it feels like you're interrupting the tension of the surrounding sections. Even just replacing chords like these with less-resolved ones would improve the flow, I think. That's a lot of words for relatively minor suggestions. It's very professionally written and would be a rewarding challenge for good performers... I hope you finish it and share the other movements here!
  38. 1 point
    Don't be hard yourself, I actually quite enjoyed this. The first thing that came to my mind while listening to this was the film Edward Scissorhands; and I say that in a good way (love the music in that film.) It's obvious you have a clear direction and you create just enough room to allow other instruments in without pounding it with too much sound. Fading in and fading out the strings were very nice and your transitions were convincing as well. However, I will say...in my personal opinion, the brass sections didn't compliment the woodwind instruments as well BUT it was the idea and how unique you implemented them that had me in awe. Definitely a 8/10 in my book. Good work man.
  39. 1 point
    These are nice little pieces. I'm just wondering about the practicalities of performing this work due to the different instrumentations employed for each movement.
  40. 1 point
    Hi everyone, i´m Fernando Ocegueda, i´m 17 years old, i´ve been composing for a year now, so i´m pretty much new to this whole composers world, but since i started i´ve been making songs like crazy and i find it very relaxing, it helps me relieve stress like in a therapeutical way. And since i´m starting to get serious about it i´d like to receive some opinions about what i´m doing. I´m new to this forum and i´m really glad i have found this site because i think it´s a great idea that many composers can help each other out, and, if you let me, i would really like to give people some feedback about their compositions, and help them in any way i can with my opinion, as well as they can help me. I don´t know much about musical theory, so my contribution with this forum could be telling you what someone who doesn't know al lot of theory thinks about your composition in a non very technical way. As i mentioned i´m not very good with theory, but i´m taking lessons and as i get better at it of course i´ll try to help some way. Well, to start, i´d like to know what you think about a composition i made about a month ago, it´s called "Esperando una señal" or "Waiting for a signal" in english, i´m mexican so this song is in spanish (i´m also trying to compose in english) so i don´t care that much about the lyrics (if someone speaks spanish i would really aprecciate some help though), it´s music, the melody what i really care about. It feels a little bit raw since it´s not very good quality because i only have a guitar, a mic, and a keyboard, also my room receives a lot of noise from other parts of the house, but i tried to make it sound as best as i could, i´m going to re-make it so it sounds better, but before i do, i´d like to know what you think about it. Thank you everyone for reading. Hope i´ll be here for a long time. Sorry for my english.
  41. 1 point
    This is my favourite set of Sententiæ I have listened to! Fantastic! Wonderful use of the three very different registers and you use the entire compass, which makes the music interesting. I particularly like the passage of the lowest register. All three pieces sound very logical and simple, which is the power of this opus. I just love the unexpected notes at the end of No.1 and No.2 (when not reading with the score). It adds some humour to the already light music. Very well done! I am looking forward to more music!
  42. 1 point
    Nice so far. You'll want to snap quantize the rhythm eventually when processing the music. Sometimes your second intervals (appoggiaturas, mostly) seemed a little out place. This can be fixed by having the melody move away from the interval or being selective using them on chords where being stable is more common (i.e. I chords). The motion-motive in this one is really good, but it gets to be a little bit repetitive when the pattern is consistent. Good luck finishing!
  43. 1 point
    "Blind of the fact this topic is concerning CPE theory...." When I begin a work, trivial or serious, I first start with a series of pitches (with or without rhythm) -usually between 2 to 5 pitches for a motif. I expand the motif by adding another 2 or 3 pitches at a time (sub-motifs). Depending on the idiom (serial or non), I may use a matrix to help organize my material OR just begin writing. The idea here is to provide focus on brevity. People love things they can remember -and they especially love things they can easily pick up on. Keeping your material small allows for you to optimize and maximize this. I hope that makes sense. After I build the motivic units together to create a musically logical (or illogical, lol) sentence. I look at the potential areas that I can take this. Do I want to develop the material further? Does the idea scream for a short work that leaves the listener curious? How do I want the idea to evolve and flow? Once I have an idea where I want to take the material, I begin to select the proper form for it. Forms, as I mentioned in another post, are another aspect of theory that are extremely important. The form allows you to state your ideas, develop them, and allows the listener the opportunity to follow your ideas through the process itself. Notice I've not talked about harmony? Despite my education and attendance in music harmony courses... I would argue that harmony is an item of music that is the byproduct of these other processes. Obviously, in developing the motivic units and the overall sentence of my ideas... the harmonic language (and subsequent rules associated with the language) should follow suit. But these rules and language -in my personal opinion- aren't meant to be followed to the fullest. After all, what if the idea behind my motif was to cause my listeners to question their own socio-cultural understanding of music??? At any rate, harmony to me isn't as important an element as the construction of your ideas or the form in which you plan to develop those ideas with. So, to summarize, the list of things to be aware of when embarking on composition are the following: 1. Motif and submotivic units 2. Form 3. Your musical language. I hope this helps!
  44. 1 point
    Dude is this live or do you just have an incredible sound library because if so please hook me up hahah ;)
  45. 1 point
    I think melody and harmony go together, and that they must match each other somehow.
  46. 1 point
    Overall, not a bad job. Lots of really good moments and generally okay chord structure (i.e. no crossed voices). There are a couple thing to mention: 1. What are the x's on top of the notes in the beginning for? Artificial harmonics? Those should be diamonds, rather than x's. 2. It should probably be longer... I heard a lot of good rises and falls, but no so much "development" in the traditional sense. 3. Non-harmonic tone issues; there are a lot of times where you have a note that moves a semitone away, which is fine, but you typically have another note in the quartet that's holding the same note as that instrument, therefore creating dissonance that doesn't resolve. 4. A couple notation issues, like m. 27; just make sure that when you put notes down, it's always in terms of the beat scheme of the bar. Like that measure should be: 8th, Dotted 1/4 tied to quarter, 8th, 8th. 5. m. 33 sounds like a direct modulation and I think you may have wanted a common chord one. Look out for common tones in the previous chord before modulation just to make sure it's what you want. Builds well and definitely flows, but it feels like a heartrate machine where there are little blips in the line. Good luck and welcome!
  47. 1 point
    Well, first make sure your clarinet is actually in Bb. Currently it's written in C. The figure of a dotted quarter then a half note should be notated as a dotted quarter, eighth, dotted quarter tied together. It's nice when a phrase seems to have some sort of non-functional resolution, and the homophony was lovely. Some of the ornamental wind stuff against the piano I heard as kind of filler for space sometimes. The counterpoint was okay too. Cheers-
  48. 1 point
    Frankly, it's okay if you didn't like it, since it's so out there in terms of music. It's a piece of process music, as they call it. What I was taught with this kind of music (along with Musique Concrete and Elektronike Musiche) requires listening beyond simply the notes, and to begin listening to the sound. And that's kind of what I was going for here. You're not really supposed to hear a bunch of parallel fifths after a while. As the piece slows down, it's an exercise as to how your brain hears and processes it at a slower "tempo". The notes, in that sense don't really matter, it's an exploration of the resonance of the specific kind of chordal structure as it dissipates into its core components. Listening to the full thing, in that way, can become a chore, if you listen for the notes, but instead I tried to make an exploration as to what sounds make up musical structure as a whole. My other "thought experiment pieces" aren't much better. @Luis Hernández You're welcome to have the piece on audio. :) I put it up there.
  49. 1 point
    Hi Pateceramics, I'm really pleased you liked it and even more pleased you think it might be good enough for others to possibly want to play it, and you're suggestions for posting it as a free score is a great idea I'd never thought of. For me, it's something I've done for years just to entertain myself, it took a long time before I even took the step of posting some of my stuff on here, but of course, it has to be every amateur composers dream of having your work played by real live people and heard by yet more lol. Unfortunately it's been many many moons since I went to uni, but you never know, I might look into it but in any case, I'm more than happy for you and the good folks here to have taken the time to listen and feel they would like to leave a comment be it good or bad. So, thank you again for your kind words, it really is appreciated. Mark
  50. 1 point
    Wow, that's really cool. I'm moved by that insight, @luderart, thanks for sharing that. Gustav Johnson
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