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This is a piece I recently submitted to a youth symphony orchestra competition. It is supposed to be geared towards a grade 3 level. Let me know if you would make any revisions or changes!

Hi guys. Here's a little ditty that's been nagging me for some time, I intend to integrate it into a larger piano/orchestral work later (Rhapsody 2). Hope it makes you smile. Cheers, Mike.

Hello, everyone. First, I’d like to thank Luis Hernández, Gustav Johnson, and bkho for their comments and advice on my last upload over a month ago. They were very much appreciated and encouraged me to continue composing. Unfortunately I have been traveling frequently since then and as such have been unable to access a piano. This has caused the difficulty of my compositions to increase rather dramatically, and I wouldn’t be surprised to hear that some are virtually unplayable, though I have done my best to exclude chords beyond the octave. In the same way it would also not be surprising if some are in a key different to the one in which I have written them, the major focus of these studies (or expositions) being A Flat Minor. Consider No. 11, the easiest and only one not written in this key, as an apology for any such flaws. I should also mention that I am working on pieces longer than eight measures in length, but in the meantime any feedback you could give would be greatly appreciated.

Here is a little impromptu I wrote a few weeks ago. What do you think ?

Hello everyone ! I just wanted to rewrite and reorchestrate by ear this beautiful song from the game Death Stranding, composed by Ludvig Forssell. Let me know what you think about the arrangement, the mix or whatever you want ! Thanks for listenning :) https://www.youtube.com/watch?v=cwMf-NDW1ag

Incredible.

Enjoyed this alot! It's not my 'scene' so all the more impressive that it worked for me so well

Hey guys. What do you think of this music I composed... i Had a dark film scene in mind... preferably that of a Sociopath‘s mind snapping! https://m.soundcloud.com/jesuz-4/the-sociopath

Composition completed on: Etude-Tableau №8 in F sharp minor ICO №94 - 09/09/2016 Etude-Tableau №9 in F major ICO №95 - 09/11/2016 You also can watch this piece here -

Hey does the timing of the accents seem off?

It is a long time since I was last on this site, and I have missed hearing your compositions. It was a delight, therefore to find this fragment. I have listened to it half a dozen times, each time hearing it more clearly. I have also looked over the score, although I do not have perfect pitch so I am unable to 'hear' music this way. First, the piece is exactly as you entitle it: a call to adventure. Having watched a great many action and adventure movies, your piece fits the genre perfectly. Well done. I was not reminded of The Shire, despite having watched The Hobbit and The Lord of the Rings trilogies many times. If pushed I would say that there was the very mildest of resemblances to the Pirates of the Caribbean theme, but less Irish and more English, somehow. I am more reminded of the Westerns I used to watch many years ago as a child. So, I do not believe you have any reason to be anxious that your composition is specifically derivative. Second, on first listen, there were several places where the simple rhythm got a bit lost. On listening more I could hear that, in fact, something more complex was going on, as I would expect of serious music. However, in my stereotyping of the genre, I would say that the simple rhythm needs to be obvious, although not necessarily forefronted, throughout any 'A' sections. In contrast to what I have just written, were I listening to Sibelius, I would expect to hear simple rhythms become increasingly complex, which is ultimately more interesting. Third, on listens after my first, I was very keen for the piece to continue. Specifically, I was looking towards a somewhat darker 'B' section (perhaps then followed by a return to the 'A' theme). Fourth, try as could, I was unable to hear the harp. From the score I knew the harp was playing, and I was looking forward to the glissandi, but I just could not hear them. Fifth, and following on from four, I am going to be very bold, inasmuch I am sure that many others on this site are able to advise you better that I ever could. I think that if you want phrases on specific instruments to be heard, then you need to make holes in which that can happen. In my limited experience, this seems to apply especially to the quieter instruments. I did hear the xylophone, albeit only once, towards the end of the piece. Of course, the other obvious way to handle this would be to include several harps, etc., so as to increase their sound volume in relation to the other, louder instruments. Sixth, I liked the balance you brought between passages in which multiple threads were being pursued, passages that were harmonious with the theme/melody, and passages that were unison, emphasising the theme/melody. That balance, it seems to me, fits well with the genre. Orchestral music is usually my preferred musical environment. I am, therefore, excited that you are interested in adapting your talents to include orchestral music. I look forward to hearing where you might take this piece, should you develop it further, and to future orchestral pieces you might compose.

Hi, everyone! This is for @Left Unexplained's Christmas Music event! The piece is based off a PC set (025), formed from the first four notes of the original tune, and twisted in wild ways. Thought I might add a little variety to the pot. Hope you enjoy!

That's very special! Definitely gives the "Silent" vibe... and eerie touch, haha. You've just made a different Christmas for me. I wonder if further experimentation can be done for this particular piece, like recording it at a tunnel/metro, or the lo-fi effect? Anyways, Merry Christmas!

It's very nice.. Don't be worried about how long it takes to complete. I've discovered many artists who spend a LOT OF TIME on a song. The Beachboy's 'Good Vibrations' took something like 7 months, and $150,000 in studio time. Unheard of in the 1960's. The Beatles would often re-record a song many many times in different styles, keys, tempos to discover what was best. One of their hits, they used the 100th take of the basic rhythm tracks.. Prince would often continually re-record the basic parts of his songs. He'd get the rhythm tracks down, record a new bass part, which then needed a new piano part, then a new guitar. Often going several rounds till the ending piece, didn't sound much like the first version.. I spend a lot of time using the same technique. As I redo the parts, I fill in the holes, or improve and refine the parts. And I realize I had to go thru that process to find the 'essence' of what I was trying to say the first time. It's wonderful when one can brag, this was the first take.. and yes that happens some times. The real magic is in the work itself. Keep up the good work

Very intriguing and exciting. I could see it being used in a film score. It's a little different than the version of 'Silent Night' they play on our local oldies station 😉, but I liked it a lot. Really nice to hear a live recording, too. Thanks

I think this is quite beautiful. Thanks.

Glorious. I was going to replay it but then there was a repeat at the end. How did you know that was exactly what I'd want!?! 😛 There's so much going on here! I love how you made the descending bass line from the original so off beat in this version. The rhythms in general were just really enjoyable. Lots of color and energy! The chords you ended on were also great. This whole thing was just very satisfying to listen to!

Awesome. The aural result is quite strong, and, although veeeery distantly, I can hear the remniscent "Silent Night", which is a very nice touch. Also props for the recording. I hope my family doesn't mind listening to this on christmas eve...

Neat little work here. We can't break away from our habits, can we? 🙂 Maybe you would do this on a more powerful notation software, but some of the sixteenth note leaps and stuff made it look a little bit strange and hard to manage; the rest beaming would have worked well for it. I think I may not also agree with all of your pedal markings since they do span over a lot of notes, but I can't deny it's a neat effect. The chromatic motion used as a supplement to the Schenkerian Ursatz was super clever. I enjoyed this a lot!

wow.. I don't even know what to say. That gave me goosebumps. The fact that you played it for us made it way more special. Thank you for this contribution

For some reason, it's not letting me download your score. Is there a way that you can fix this? Got it! Thanks!

That certainly was a deconstruction of the theme -not quite what I thought you would do with it. I love the microtones that you display here and would be highly interested in chatting with you on writing with them for strings! The harmonics are also a nice touch. Nice to see someone use them more creatively. Good work here!

I am in no way the sort of person who could possibly draw any connection between this and your alleged source material, but it was pretty fun to listen to. I'm not familiar with all the extended techniques possible on... well on any instrument. So I loved hearing them in this! So many little touches that I wouldn't think of! Very creative and beautifully played!

Well, that was a ride, and that's no joke! Not my preferred style of music, but the articulations kept it interesting. But THE BEST PART was getting to hear you play that live!!! I loved that! Edit: I didn't hear her play that live in person. Just on the recording. Like the rest of you heard her.

Hello everyone, here is a little ditty I whipped up for @Left Unexplained 's Christmas music project / event. It's kinda sappy, and I'm not very well-versed in jazz writing, but I think it turned out OK. I had originally planned to do a big orchestral thing based on an old fragment of mine, but I couldn't really reconcile that with my actual feelings about Christmas Eve -- my favorite part of the holiday season. It's the time when all the stress finally melts away and you can spend a nice evening with your family. Of course, there could be more verses attached, but I thought I would refrain from belaboring the point, especially since these are fake instruments with a bassoon instead of a human voice. I also thought that in a real performance, there'd be more of an element of improvisation, but that's kind of hard to capture in a scenario like this. The sappy lyrics are in the PDF score under the vocal line, but here they are in case you'd prefer to read them this way: On Christmas Eve, We'll bundle in our sweaters and our overcoats And all our cars will clutter up the driveway And as we say hello, we'll lament the lack of snow And then we'll all come in, And holly will be wrapped around the banister The sound of all the children laughing can be heard It seems not long ago that we were in their place Over the years, some have come, some have gone But I think it's comforting to hear those same old songs The world outside keeps spinning faster and faster all the time But it's good to hear those same old songs (On Christmas Eve...) Comments and criticism are very welcome. Thanks for listening. Merry Christmas! 🎄

Ah - mkay! I use Ableton, so I'm not familiar with how you'd adjust those settings in FL, but I'm sure a little internet research will have the answers. Anyway, I can tell you that I'm learning a lot from my own experimentation, so stay encouraged about trying new things and explore all the rabbit trails that catch your fancy 🙂 Gustav

Yes! It's very nice and sweet.

Cool stuff 🙂 It's very "christmassy" while having a mood of it's own.

Haha! The magic is working already.

It sounds good. Intense trailer music. What VST did you use for the percussion sections?

I'm intrigued. Best wishes to her from me.

This is so sweet and I love it! Every part, sappy lyrics and all! It fits the holidays perfectly and captures feelings that I can very much relate to! Great job!

I normally don't visit this section of the forum. The title is what really drew me in. I'm very sorry to hear about what you're going through! I can't offer or say anything that would help you, but I can tell you how much I enjoyed hearing your music just now. Your feelings came through very strongly, and I'm hoping for the best for you! Please take care and keep composing if you can!

This is such a cool idea! So creative! Like how salt helps bring out the flavors in a dish, your music enhanced his words quite a bit. Dangerously zen though, I'm reclined on the couch and nearly fell asleep because I was so relaxed by his voice and the music!

Hi Muhammadreza: The song is beautiful and sad. It certainly reflects your message. I might like this the best of all your posts here. I too have battled depression/anxiety for decades. I take psych meds, and counseling. I'll go for a while, feeing neutral, or even good. Then I might really fall deep into an emotional hole. A lot of people don't realize MENTAL HEALTHis a real issue. Your brain is an organ in your body, and it can go from states of health, strength, depression, or weakness. And some people mental health is something that should not be talked about. There are various ways to deal with depression. There are coping strategies you can learn to use.. Like you did here, I sometimes use music to express an emotion I'm feeling. The process of creating a piece, helps you process your feelings too.. You are in my thoughts

A chord is any combination of pitches (no matter the intervals involved). A triad is a three note chord. A triage unit is the emergency room (ER) found in your local hospital. Seriously though, why stress over these types of topics. Just write your music. Leave the analysis and over-analysis to the theorists. Let them make sense of what you write and how it works -that's what they get paid for (?). If a combination of notes sounds interesting to you, explore it.

Cool piece! I wasn't expecting the cello solo! If you had shown me this piece and asked me to guess the title, I don't know if Cloudy Dreams would have come to mind, but I think it definitely fits. I also enjoyed the sound effects throughout. Thanks for sharing!

Hello guys, I am totally new here and I am really impressed by discovering such an active forum with so many talents! I am really surprised, didn't know there was such a place on the web! Anyway, I am a youngish composer (31yo), I started composing around 2 years a go (but play the piano since many years). I have composed a good amount of stuff but my favourite is probably Math Piano Rock. This is inspired by Math Rock, a fast paced genre with frequent change of rythm and no lyrics (I hate lyrics!), but also Prokofiev and Bartok. The piece is *difficult*! The video below is performed by a software - but I have actually played it live a couple of times (you can see in my channel some videos where I do that, if you are interested). I am always looking to opinion, suggestions and ideas!

I love the use of harmony and the meandering feel of the piece. Good work.

I love your harmonic language here. The piece definitely has a Yiddish feel to it -which I adore. A few comments: 1. I love how the Viola counterpoint comes from nowhere at measure 13 (one of my favorite techniques). However, the double stops at measure 18 bring attention to this line and pull it to the foreground -which I don't think was your intent. I'd look at redoing this. 2. The extended techniques used add nice color. I loathe reviewing pieces that use harmonics, beating on the instrument, and other techniques arbitrarily. You use them to add timbral variation -and you do it well. All in all, I greatly enjoyed this piece! Thanks very much for sharing. I look forward to hearing more of your work!

Lots of counterpoint and a picardy third to boot! Anyways, I like the material. I think you could really work with this and expand it. For starters, I'd take away the chorale barrier -or look at some of the chorales of Bach to get an idea on how it's done. In terms of playability, this reminds me a bit of some of the contrapuntally rich chorales from Beethoven's late string quartets. Given your language here, these would be good primers for you. Not only do this display a mastery for writing dense contrapuntal lines for String Quartet -but they will also show you how to work with material richly for strings. Keep up the good work!

@Esper Here's a spotify link if interested , song also released on YouTube, Deezer, and MediaNet.

Hey there, thanks for posting! First off, thanks for making it in d-minor instead of c#-minor. I can guarantee you that string players much prefer it this way. Personally, I found some of the harmonic shifts (like in measures 11-12) to be a bit off-putting. That is a subjective opinion, though. What I can say with a bit more certainty is that something you can strive for is to make sure that each player's part is interesting for them to play. As a cellist myself, I can tell you that few things are more annoying or bothersome to play than a part that doesn't seem to go anywhere or do anything. Without a real sense of direction and fulfillment, I think you run the risk of having a piece that is unpleasant to play. That's not to say that some pieces can't be hard for the players, but the point I'm making is that you want to make sure you're considering what it will be like for the musicians to play through this piece and whether or not it would be a good experience for them. I think you're doing a fine job here, and perhaps someone with more knowledge than I have of discussing harmony will be able to leave a review in regards to more specific suggestions or comments. In the meantime, keep up the good work!

It sounds good. I love the sound of the harpsichord. I don't care very much about parallels and that, if it sounds nice to me.... I love the final part when te lower voice takes the G# in m. 22.Nice change to prepare the end.

Thank you all for reviewing my work! I agree that the simple pattern repeating is a bit comical, i will try to think of interesting ways to modify it. I also feel song is not complete. Id gotten frustrated with how long it was taking to get what I already figured out played smoothly so i posted something to be done with it. Making music takes patience though. The revised version will be up soon. Thank you all for listening. 🙂

Updated it. Turns out it's being used as fighting music so I acted accordingly. How's it sound?

It sounds similar to James Horner Avatar and Alan Silverstri Abyss Theme. Good job.

I desperately want to plagiarize Lament of Virgin 🤯

There's a bunch of things you need to do/pay attention to. I'll make a bunch of lists now. Budget, because you need to pay for: Musicians (concert and rehearsals) Venue (for the concert itself and maybe if you need to rehearse there beforehand.) Logistic (travel costs if people are not from where the concert is) Misc (Food, lodging, whatever comes up) Then venue: Does the venue allow for rehearsals? How often, how long? Do you have to pay extra? If you need a piano, does the venue have a piano (and if so, what kind, which tuning, etc.) What's the lighting situation. Can you set the lighting yourself, is there a technician, etc? Cost, of course. Sometimes venues will collect a percent of the ticket sales, you need to get that all in writing. The meatbags with their noise-implements: Certain instruments (usually stuff made of metal) need time before rehearsals to "warm up," take that into account when planning your rehearsals. Dress code, which usually isn't a problem, but it can be with singers and, well, women. Not a "problem," exactly, but it's something to add to your checklist nonetheless. Applause rehearsal, because seriously this is important and it reflects on you as a composer that everyone knows what the hell to do during applause. Encore? Plan at least for two short pieces (or a repeat of a catchy bit from the concert program), because being optimistic helps group dynamic! Keep rehearsals short and precise and try to schedule them either before or after lunch, since you don't want people hungry while they're trying to follow a 32th 7/16 marimba passage. If your rehearsal is so ungodly long that it overlaps with lunch (or dinner), then make sure you give your musicians options for taking a lunch break. This is your responsibility as organizer. The actual concert, finally: Organize your concert program so that if you suddenly need to move 5 marimbas and 2 pianos across the stage, you don't do it between short pieces. Keep large things on their own concert segments separated by a pause. 15 minutes is good enough for a pause, only do longer if you need to move 10 marimbas and 4 pianos, or something that requires very specific preparation (like tuning a harpsichord to a specific tuning, whatever.) Calculate the time the concert will last. This is very important specially when you're presenting the project to interested venues. You need two numbers, the actual length of the music proper and the "real" length, including pauses between movements, stage setup, pauses and applause. Can also include introductions, and any other thing that happens during the concert. Round upwards always, things take much longer than they may at first appear. Make a good and proper concert program that people can have during the concert to read up on important things like your biography, how great you are, and why everyone should be like you (great). Don't forget to ask the musicians if they are OK with including biographies for them in the program and allow THEM to give you their own text. Edit for size, but not for content. Also helps to add a list of the pieces performed along with their length and any other things you think are interesting to know. As a super helpful tip, if you can't fit it on a double-sided A4 paper, then you need to reedit. And if all of this doesn't scare you, then congratulations! You're ready to annoy strangers with your weird pieces for dog whistle and garbage truck.

III. Great. Notational errors aside (which I would strongly recommend fixing) and a couple inconsistencies (i.e. why doesn't the first measure use the whole note like the rest of the piece), the ending was the only thing that threw me. While I do understand and like the effect of getting progressively emptier as time goes on, I think it might have been a little too abrupt with the truncation of the left hand motive. I'm not entirely sure. IV. I like this one too. Kind of an interesting Japanese feeling with the use of the majority of the Insen scale (minus the minor 7th), but it works nicely here. Notational issues are kind of a thing and I would look into rest beaming or crossed staff notation to alleviate some of the difficult rest reading. The part with the trill at the bottom was the weakest for me. The attention to detail of the rhythm, which was arguably the most important thing in this particular piece, was a little bit lacking, relatively speaking. Overall, it was enjoyable.