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Hello I’m writing a series of short pieces for orchestra using ‘modern’ musical languages. I’m doing this because I enjoy it and to develop my skills in orchestration. I write them for piano first, but with orchestration already in mind. However, I don’t include the piano version. In this case, it’s a PC Set (postonal theory) consisting of just four notes, with the form (0125) corresponding to Forte 4-4. As an example, starting from C, it would be: C – C# – D – F. It is then treated in many different ways: horizontally, vertically, inverted, rotated, etc., etc.... The piece has been reviewed by an expert composer and orchestrator. Although, of course, there are a thousand things that could be said about it. SKETCH 4_4.mp3 SKETCH 4_4.pdf

Angler Fish, band, Wayne Pawlowski, guitar, Casey Gullione, engineer, Kawika Harper, Saxophone, Chuck Tease, lyrics, vocalist, Leland Newland, vocalist, Kim, vocaloid, Andrew Uher, producer, all persons including, Rockcastle, Cadiz, and Kentucky! Be careful what you say after hearing my music, I may take it as a compliment... "Desire for Yesterday," es muy buenos, academic, opening with the rhodes inspired organ undulating the progression of sound, a nebula crafted by Andrew Uher. At peak, the lyrics, demised by, Chuck Tease, insists a greater need in effort, rapping with no curse words, good luck! Once you find out orange rhymes with foreign, your good. Cuidado con lo que dices después de escuchar mi música, puedo tomarlo como un cumplido ... "Desire for Yesterday," es muy buenos, académico, abriendo con el órgano inspirado en Rhodes ondulando la progresión del sonido, una nebulosa elaborada por Andrew Uher. En la cima, la letra, difunta de Chuck Tease, insiste en una mayor necesidad de esfuerzo, rapeando sin malas palabras, ¡buena suerte! Una vez que descubras las rimas naranjas con extranjero, tu bien. Mastered by SageAudio

Hello everyone! I composed today a really short waltz theme. I am practicing the "Merry-Go-Round" waltz from Joe Hisaishi at the piano and decided to use the initial harmony and melodic voice leading for composing a theme as an exercise (I used it only as an harmonic template and did not try to imitate the "Ghibli" sound). The first 7 measures use the exact same accompaniment and melodic voice leading. I tried experimenting a little bit with harmony, particularly in m.12~14 and m.28~30. I think the motive in m.2 might need to be notated with a trill (since I think it needs to sound more rubato and less rhythmic , but the trill in MuseScore sounds too bad so I notated like this). Hope you like it and any feedback is welcome! Thank you!

Hisaishi is a name that will come up in online circles every now and again and it is one to talk about! When it comes to studying his music and replicating it for ourselves, the first thing I would point out is the form. Even though Hisaishi's works can vary in form or length of form, the first time he presents a theme, he likes to use AABA form. I notice that in your version, you repeat the phrase twice, using a deceptive cadence to minor iv. If you were to continue it, then a modulation or tonicization of the dominant or relative major would be expected to the B-section. As you mentioned briefly, including variation is also warranted as a pure repeat can be a weaker approach. If not the melody, change the accompaniment pattern slightly or add an extra voice/ harmony in the right hand. So much to say in efforts to evolve this simple theme. Check out Alex Hepplemann on YouTube as he has a great series on Hisaishi and explaining how to write in that style. Also check out MomentsMusicaux on YouTube to see some excerpts of Hisaishi and their analysis.