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Thought I'd join in as well!

It's actually not that difficult for me to do the modulation since when I was sketching, my original plan was to just modulate to another key far from C and not to any specific one. Furthermore, it's kinda chromatic too. I just moved a half step up when it reaches B flat and boom, B major, then you V-I that thing. I suppose the smooth voice leading and the orchestration help as well. Dude thanks so much for the appreciation and award!!! I'm so sorry it took me more than a week to response, like I've been wanting to response but I kept getting sidetracked. Again, really appreciate it!! Means a lot!!!!!!

Heh thought you'd notice! I really want to listen to you guys' pieces since you and @Henry Ng Tsz Kiu has been commenting constantly on my pieces and others, and I've only listened to a handful of you guys'. I've honestly been avoiding listening to this piece cus I had thought that there's a lot that I could change and all that. For example, I'd probably tone down the flute's high notes since it's so frequent and a reply here has pointed out that too. But honestly, it ain't that bad lmao. And hey, I wouldn't mind a concerto arrangement, but I think this chamber instrumentation suits it more. You're exactly right. And that's exactly why some of my older scores are just atrocious with pitch spelling, cus I was a dummy and had not figured how they worked yet, even here too in some places! It is one of the reason why I want to revise some of my older pieces. me when sleigh bells It's "Carol of the Bells." The first theme is loosely based on it, the sequence starting from b.122 has the rhythm, and the actual quote appears in b.193 Thank you for all the kind words!

It's actually taken directly from the original track itself! I've used a website to separate the vocal from the instrumental. If you listen carefully, you could actually hear the imperfections in it, such as at some point, you could hear piano doublings on the vocal. That's because throughout the whole track, the piano always doubles it an octave above. Here's the ost: Anyways, thanks for the kind words! Really glad that my time spent on actually learning orchestration has paid off!

Dang, two new(-ish) pieces in a month? That's crazy. Tbf the main materials here are from a preexisting song, and the other piece is a full revision. Then again, I had to learn orchestration stuff for this and that took a very long time. aaaanyway, really happy about how this has turned out anndd imma just gonna quote the description from the progress update thread you could find the progress update thread here: also @Henry Ng Tsz Kiu, I'm really glad I could be the first one to ever quote one of your themes! When I was sketching that section, I thought of wanting to quote, and I thought of your specific theme. Again, really happy that it fits really well. Also also, those syncopated rhythms are actually from the original song itself. But, I do agree that it fits this "cover" and the original song. Glad you liked my orchestration too! (vocal by Jillian Ashcraft, taken directly from the OST)

Progress update for today: finished the quiet part after the part from the first post. And yes, you might've figured it out, I quoted @Henry Ng Tsz Kiu's Image in G major (2nd theme). Like, I put his theme on my sketch, pair it with the main theme, and it is just a good counter point for it. Furthermore, I think it fits well with the rest of the piece cus both the main theme and his theme use a lot of pentatonic. Anyway, really happy with how productive I am with scoring today, can't wait to finish it

I've decided to tackle orchestration again, and this time, I've paired it with vocal. I've actually got into this "game" again recently, so that's why I chose to orchestrate its only song with my own preferences. The main theme may sound like it comes from an anime cus it's from a fcked up anime dating simulator lmao The instrumentation is fairly standard: 3(III=pic).2.3(III=bc).2 - 3.2.0.0 - timpani.percussion(glock, xylo, sus.cymb, cymb, trgl) - alto - strings The audio has a lil bit more than the score. It's a transition to a more quiet section, you may recognize a theme that I've quoted from someone from this forum 👀 Anyways, lemme know what you think about it, I'll probably upload more progress down the line enjoy

I did play around with your suggestion, changing the triplets to the 16th notes, and yeah, it is so much more smoother now. However, I wanted variation on the second repetition, so I substituted the rhythmical change for harmonic and dynamic. I changed a bit of the notes from the ostinato, and the passage now crescendos a bit to forte then diminuendos to the unchanged pianissimo, just to add contrast. I've also properly modified the repetition at the end of the piece to match the change. Thanks for the suggestion and feedback! Glad you like the piece!

Completed piece:

Wow I did not expect this to be completed in such a short amount of time after I had posted the work in progress thread a week ago. That's a record. Though, I guess I did work on in beforehand. Still though, glad this one is not stuck in work-in-progress purgatory, just like the others... Anyways, since the latest progress, I've modified the return to the first theme, most notably, a flurry of ascending scale on b.105 followed by a trilled downward passage of the theme. This is done to kick start the momentum of the piano's spotlight on the proceeding bar instead of just the piano reciting the theme alone in the 2022 version. Another drastic change is that I've turned the passage from b.112 onwards to be a build-up for a proper, actual climax at b.118. Additionally, I've fixed the many of the pitch spelling errors and, of course, tidied up the score as well. There are other smaller changes on the piece as whole, but I'm not gonna list them here. I'm really really happy I did this revision 'cus, again, I just love the themes in this and it's worth putting it to my current musical knowledge. It feels satisfying and gratifying. Old version for comparison: Progress Thread (wow i posted only two progresses on there) Hope you all enjoyed this and lemme know what you think! Thank youuuu edit: thanks to @pateceramics for pointing out the ineffective rhythmical change on bar 5-7.

Oooh I like that pedal tone on bar 9 onwards with neopolitan chords above it, heck I think this whole piece has this really nice neopolitan feel to it. Y'know, the 1st theme and the 2nd theme being G and A-flat. And I love that really recycled romantic theme from bar 35 onwards (legit gave me feelings fr). It really does contrast well with the impressionistic and lush bars before it. Not to mention the freaking modulation in bar 33 and 34 from G to A-flat. I like to interpret the quartal E-flat as to mark the impressionistic part and the sliding to E flat dominant 7, which resolves in A-flat, suggesting a traditional V-I, as to mark a more romantic approach on the proceeding bars. I like the high register counter point on bar 55 to 58 too. A nice variation to contrast the previous bars. Additionally, I like that you reference the beginning part at end the piece and then just hangs the final chord on a dominant 7 with the tonic bass to really punch in the end. Overall, this piece feels really broad and wide, and I love ittt. Thanks for sharing!!!

made the cadenza part just now

It's been a while since I've done work in progress stuff. So, in order to stay motivated, I'm gonna post some progress on this revision. I've been in the mood for doing revision of my older pieces, and I wanna rework them with my current knowledge of composition. I've mentioned before that I've been doing some rework on the Alula Variations but I'd probably put it in indefinite pause. With that said, I really love the themes in this but I felt like I could do better with the current version. I've thickened up the accompaniment, added and varied the articulations on both instruments, experimented with dynamics, added a bunch of ornaments, neighbor notes, passing notes, counter point, you name it, added more variety to the harmony, and tinkered with the registral characteristics of the clarinet and used them to my advantages. I especially liked the quasi dance-like rhythm on the current version so I've made the rhythm clearer and more pronounced on that section. I've rewritten the cadenza so it actually contains previous materials and not just some random arpeggios. Although, I've not inputted in the notes on the score yet. You could listen to it on the audio, however. Anyways, feedbacks are always appreciated, tysm. Here's the old version for comparison.

Hey dude, really appreciate that you like the style on my music and glad you enjoyed the piece itself. Thanks for the comment!

For the flute I use Symphonic Sounds (Flute SSO), for the bassoon I use VSCO 2, and before, for the piano I use Yamaha C5 but I've changed to Salamander. Thank you! The OST's theme is very sustained because it's supposed to be an ambience, so I had to get creative with the variations/paraphrases. Also, while composing, I tried to focus on juggling between all three instruments, so I hope they sound balanced. Again, thanks for the reply.

Hi, this is a side piece that I've worked on whilst I work on the revision for the Alula Variations (I love doing reworks on a 30 mins piece's score hahaha....). I chose bassoon and flute because I kinda wanted to write a chamber piece and write for bassoon. I also like the vibe of the OST. So yeah, hope you enjoy!

Travis really nails the theme here and I'm glad that I was able to expand and explore his theme(s) so that I can bring it/them to a much further potential. And I'm glad you like my orchestration too! Thanks for the feedback!

Yeaa me too! When I heard the original song for the first time, I knew that I had to lean more on the mode. You might've also noticed that I was switching between Dorian and Melodic since they're so similar. I really love the main theme. So yes, you're correct! I'm glad that you feel the same way as I do because I plan to explore more of the other songs' themes in this way, each with a different twist of course. Appreciate the feedback and thanks for commenting!

Hello! This is the "vocal piece" that I was talking about! Its for soprano, string quartet, woodwind quintet and harp. Of course it's going to be a full song cycle in the future, but as of right now, this is the only one that is finished. For context, most of these songs are going to be from the series "Dark Dice" (by Fool and Scholar Production). However, I am planning to do original compositions on the texts from the series as well. As for this song, it is one which a character (Glom)'s mother used to sing when he was small. It is used in a scene where her sister (Gaelle) started to sing the song in his mind through a spell as he was starting to sleep. As always, I appreciate the feedbacks and hope you enjoy.

Hello! The piece does a great job at making me feel uneasy. The droopiness of the theme and the downward staccato notes really do it for me. However, while I do feel the emotion of sorrow and depressed, I feel like it leans more to the ones of dread or anxious, especially with the staccato notes. Another mood that I'm feeling is wandering. It does keep me on my toes. I suppose the short dissonant brass notes is supposed to be a climax. However, the build up made with lone xylophone line accompanied with the double basses and the orchestration of the climax make it hard to feel anything other than dread, terror, or horror. I feel like if you want to "tease" the tonic, one way, in my opinion, is to use more traditional chords or cadences and play with expectation, because the context of this feels more like atonality not so much "wandering" where the tonic is. I do like the build up on bar 37 for the flute solo starting with the lone quarter note bassoon. Very uneasy. The flute solo on bar 49 I think does the greatest job at conveying the emotion of sorrow. You did great job with the sparse orchestration! The ending, to me, feels final, with the descending lines of clarinet and bassoon, and the final duo between the double basses and bassoon really nail the punctuation. I also like how you rarely used the double basses and saving it for some important moment. The basses feel very salient in those final bars. Overall, I feel like I'm trapped in an underground mines with a caved-in way out, your fellow miners have gone insane, and there's a lanky monster nearby (definitely not from a plot of an audio drama series that I've been watching lmao). Thanks for sharing!

Toreador march was a prominent theme in FNAF, and it is infact not just a quote for this piece. The first 4 bars, the main theme of the introduction, is built/just variation upon that. Funniest thing? I did not quote anything outside the theme list lmao. 18:50 is a development/variation of bar. 159, it does seem familiar though. I think the theme lists showing the actual themes in different staves, not just a list, is a good idea, never thought of that. The thing is that the purpose of this piece was to share it to the Fanverse community first. I was gonna make a video about this, upload it to YouTube, and share it with the community, but the scoring of this took way too long and I had already burned out. So I changed my plan and decided to upload it here, get some feedbacks, and then maybe some time in the future I'll actually make the video. I did notice that it really relied on knowledge of these themes, hell, I had even realized that this contains just TOO MUCH THEMES mere days before I went to the scoring and polishing stage. I really didn't wanna waste 4 years of effort so I just went on with it. Should've just chosen like 3 themes from the start, but then again, this piece had the community first in mind. Funnily enough, I was going to include "Medley" on the title, but decided against it because I want to alliterate the title and pair "Fazbear Fanverse Fugato" with something, so I chose "Fantasy". You could had actually seen the previous title before I posted this topic in my "about me" section. I haven't checked and commented on this website as often as I used to, before posting this piece that is, but I'll definitely consider checking that once it is done! I've tried to give some sense to this piece by repeating the themes over and over again before entering/introducing new themes, but I do agree that it is a bit haphazard. Thank you! Hopefully it doesn't spiral out of control and turn into a "mess" that is this 35 minutes piece, lmao. Overall, a bittersweet feeling. You know, actually finishing a 35 minutes piece WITH score and engravings (with some errors STILL present, argggh), and you ended up feeling meh afterwards. Oh well, at least I've started a more simpler vocal piece to ease up the slop. Thanks for the feedback.

Yoo thanks for the reply and the compliments! I did not expect to find another fnaf fan and a fellow composer on this forum specifically. I've always wanted to make something for fnaf, and with the fanverse announcement, that desire would come eventually. Hope you enjoy the rest of the piece because it gets a bit harder at some point. Though, I think the last sections make up for it. Thank you again for the feedbacks!

Welp, it's been a bit and I've come back with, would you look at that, a 35 minute one continuous movement piece? Never done that before, yup. But seriously, I've been working on this piece for like, 4 years? Obviously I didn't constantly work on it, between my spare time more likely. You can look at the score for more information about it. It's a very technical and dense piece, and I totally understand if you get tired in the middle of listening (I get tired too lmao). Anyways, I got nothing else to say other than to enjoy the piece! Feedbacks are always welcome.

You could play the 2 voices in succession or arpeggiate it, either works. I've seen many scores with chords that are like almost "impossible" to play, but the pianist ended up doing either of those two things (I know the audio provided doesn't do that). This specific section is also a slow solo section therefore the pianist is in full control of the tempo. So yeah, I think it's fine. Yeah, I've learned the same thing. But through many scores that I've learned from, I've actually seen many specifications of bowings in the strings in some parts. Definitely need a bit more research on that. Thanks for listening! Glad you enjoyed it.