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Dude these are hard to keep up with lol... but I guess I've been busy and haven't been on here as much... sorry! Listening... Ok cool! I'm almost finished with a counterpoint in two voice piano type of piece, so this is right up my alley. The language is different, but the upper part kinda looks familiar lol. I really wonder if it would have sounded better having the intervals closer together, but with them far apart it was like an eerie bi-tonal carnival ride to me or something 😄Were you mainly thinking of the consonance of intervals? It was dissonant but smooth. I know it was just an exercise and you had a prompt, but what about texture change? I'd love to hear staccato bass or something, even if just a segue in the middle. Cool piece! Have any of these exercises given you grander ideas for the themes you've used? What do you feel you've gained so far in these compositional studies? Hopefully your next major work has even more craftsmanship from your work. Well done!

Some badges must me earned. Some are given freely, but there is one badge that rules them all. Legend holds that a mysterious "better than thatguy" badge is given only to a chosen few. You must search through the members profiles and sift through their badges to gain further knowledge. I wish you well in your quest.

Hi @MrBelegro! Welcome to the forum! For the Outstanding Orchestrator badge, you may look into pieces below which are awarded the badge for your reference: For the "Better than Thatguy" badge, actually it's named so because one of our moderator's username is @Thatguy v2.0, so you may check out his works to see if you are better than him or not lol! Henry

I come to you with yet another piece prompted by an exercise from Persichetti's "20th Century Harmony" - Chapter 2: Scale Materials. This time the prompt was "11. Extend the following polymodal and polytonal passage." I chose to change the instrumentation to Bass Clarinet and Sopranino Clarinet as I thought that increasing the distance between the voices would preserve their individuality. I also heard the bottom voice as being more in C dorian rather than in G aeolian. But for the end of the piece I defaulted to a kind of linear cadence rather than ending each voice on its individual tonic. Thanks for listening and I hope you enjoy and let me know what you think!

Hi to all my fellow musicians. Here's my latest piece for piano, that I spent the last two days writing. Haven't quite finished the phrasing and dynamics yet. I may possibly extend the work; but I'm not quite sure yet. Hopefully I haven't accidentally stolen ideas from other pieces I've heard? I know the initial chord progression of C#m to Am(maj7) came from a You Tube video; but can't remember which piece they were discussing. (Pretty sure it was from a film score; but can't remember which one.) Anyway, hope you like it. I wrote it for a concert in May. P.S. Can you guess which composer inspired me to write this? (N.B. Revised scores will be posted below.)

Wow this is great! And you're getting a performance? Very happy for you, you should update this with the audio once you get it! I've made edits to my music posts too, and I think it's easiest to add the revised audio to your original post, or just remove the old one and replace with the new. That way when people click on your music they're greeted with the version you want them to hear 🙂 Great stuff, looking forward to hearing more from you

Hello @Tunndy! You have picked the perhaps most covered or orchestrated rock/pop song ever, the iconic Bohemian Rhapsody, which I consider to be a huge challenge. Everyone who hears the piece knows it and has its own expectations in the sense of „does it sound like the original“. I had the chance two years ago to attend a live performance of an orchestra and choir, and I was impressed how realistic that was performed - very close to Queen’s original sound. But that's also the problem when everyone is sensitized to noticing every little “mistake” or deviation from the original: you're faced with the challenge of bringing your own personal touch or interpretation to it. And that's exactly what you've done very well. The longer I listen to your orchestration, the more I notice some beautiful interpretations that really make it “your” piece. I particularly liked the ending, from bar 103 onwards! However, I could imagine that this personal interpretation could go even further. Therefore, as an inspiration, I have linked a YouTube video of David Bennet who reinterprets Bohemian Rhapsody in different modes or scales, which I find very fascinating. Thank you for sharing, I very enjoyed it!