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I have started a long term project related to the planets. Now, my projects are basically divided into short term and long term. Short term projects are those for which I set a deadline(or in composing competitions, deadline is already set) of 2 months or less. And then there are the long term projects for which I don't expect to finish for at least 3 months. Full string quartet would probably take 3 months for me to compose at minimum. Full Symphony is still in the 1+ years range, though I feel like I'm getting more capable of achieving it and my compositional dream, the piano concerto, with every passing month, since I compose daily and have gotten to where orchestral writing isn't so overwhelming. Anyway, back to the planets. Unlike Holst's suite The Planets, I'm doing things different in these ways: Writing in planet order, so Mercury is first and not third as in the Holst piece I'm including Earth and Pluto in my piece This is the biggest difference, my piece is based on the physical aspects of the planets, not the mythology of the gods of the same name But there are also similarities to the Holst piece, namely that it is a suite for an orchestra and that each movement has a different instrumentation. Jupiter will be the most dense in instrumentation and I think Pluto will be the most bare in instrumentation, with Neptune, Mercury, and Mars also being relatively bare in instrumentation. I'm working on the Mercury movement right now and I plan to use 2 distant keys, 4 sharps and 4 flats along with other characteristics to differentiate the hot, daytime section from the icy, nighttime section. This 2 sections of extreme contrast being unified is related to the fact that a solar day on Mercury = 2 Mercury years. Here are some characteristics that will differ between the 2 sections of the movement: Degree of rhythmic complexity -> Hot section will have more rhythmic complexity than the Icy section Instrumental density -> Not necessaraily the actual instrumentation, but the density of it will be less in the Icy section Harmonic dissonance -> Hot section will have more harmonic dissonance And here is how the instrumental density will change in the Icy section: Strings go pizzicato Piano becomes more melodically dominant(in the Hot section, it's mainly for a rhythmic and harmonic purpose) Woodwinds more dominant Possibly forgoing the horns, or at least keeping them quiet(they blend better with and provide more fullness to the woodwinds at quiet dynamics I think) And I know the glockenspiel can give an icy tone. In fact, when I do hear an icy tone in music, it's usually one of 2 instruments at high pitch, Piano or Glockenspiel(more often Piano than Glockenspiel). And I have used this high pitch piano = icy or wintery feel on multiple occasions. But should I have the glockenspiel in the Mercury movement or save it for the Saturn movement? In the Saturn movement, this appearance of the glockenspiel will represent the glistening icy beauty that is Saturn's rings. Should I save it for just that movement though? After all, some other movements will have an icy tone in part of it, namely Mercury as already stated, Mars, possibly Jupiter(if I include the Galilean moons that is), Uranus, Neptune, and Pluto. On the other hand, with possibly the exception of Pluto, it isn't very glistening like it is with Saturn's rings, just cold. And in Mercury in particular, I'm wondering if the addition of glockenspiel will bring the extreme contrast too far for it to sound unified in any sense. And yet, I feel like having Saturn be the only movement with glockenspiel in its orchestra is somehow wrong when 6, possibly 7 out of 9 movements will have an icy tone in at least part of it(only movements guaranteed to not have this icy tone are Venus, which will sound like Hell has ensued, and Earth, in which I plan on striking that perfect balance to get across that it is the only planet with life as we know it). So, what should I do? Should I have it in Mercury? Introduce it in Mars or Jupiter? Save it for Saturn and possibly Pluto?

I wanted to dedicate a piece to a loved one, so I composed a waltz in piano. Then I met with an orchestra composer to help me orchestrate it. Please, I would love feedback from this community. It is full of people who can give me their PoV and tell me for example "Trumpets louder would sound better in this part; or make this section softer". It is composed of 4 waltzes. The pattern is: 1) D Major; 2) G Major; 3) D Major; 4) G Major; Coda) D Major Thank you so much!

Hi there, here is my piece for orchestra in G major. Youtube link: https://youtu.be/-n2Hc9rTlmk It will most probably become the 1st movement of a future symphony. It's scored for 2 Flute, 2 Oboe, 2 Clarinet, 2 Bassoon, 2 French horn, Timpani, Strings It's in sonata form: 1st theme G major (bar 1-40) 2nd theme D major (bar 41-64) development (bar 65-166) 1st theme G major ( bar 167-200) 2nd theme G major (bar 201-256) I've just purchased GPO5 and still working out the best way to use it with Finale. I've been having some difficulty with strings playing short notes. Just can't hear them! I've worked out that you can assign different instruments to different layers. So I use, for example, Violin KS (GOS) for the long notes and Violin Staccato for quavers. I'll be interested in any suggestions regarding this issue. I've not composed for a while but got back into it because of the pandemic. I've finished about 8 pieces (single movements only). This is the first one I've fully orchestrated. The others are also orchestral in nature but have been scored for strings only as I was just getting back into the rhythm of things. I'll post them in due course. Enjoy

A soundtrack born from a whistle in mind. I imagined it in a menu or a prologue of a game or fantasy film, let me know what you think. https://www.youtube.com/watch?v=hWgl-oEjZcY

https://soundcloud.com/syadeu/stranger I just wrote some epic orchestral starting with synth and foley, still struggling with the transition before becomes aggressive. It takes about 2 weeks I guess? and I do really love hearing you guys feedback! Thanks!

Hi! I'm a seventeen-year-old aspiring film composer really hoping to be able to get into a college for Music Composition. However, I know virtually nothing about composing and I have to have finished compositions to send in. Background: I am proficient at piano (had private lessons for 12 years), and fell in love with film music a few years ago. Now I desperately want to become a film composer but I'm not sure how to start and I currently feel like I'm drowning in everything I don't know at the moment. : ) I'm using MuseScore and I'm hoping you guys can tell me what you think about these ideas and how to improve them. None of them are finished, but they're literally all I have at the moment. Thanks! Theme_Practice.xml Rhapsody for String Orchestra.xml College_Application_Piece.xml Test.xml

Hello, as a composition exercise, I tried to reharmonize and orchestrate the famous 3rd movement of the sonata n°11 by Mozart, the rondo alla turca, or Turkish March. Only the upper part of the melody has been kept, and it has been kept unchanged. I tried to propose diverse musical moods. The very first part was intended to be performed by SATB singers but for audio quality reason, I replaced it with a Woodwind quartet (electronic instruments) https://www.youtube.com/embed/26Srn1p3zYw What do you think about the harmony ? EmotiveScores

Sometimes a new composing project can drive you nuts. Momentarily I have to deal with one of those. I can’t put my finger on it, but something is wrong. Something is missing. Something doesn’t work. Which is really frustrating. I guess there are many strategies to get out of these situations. One that often seems to work for me, is studying work from others. Doing a remake of an existing score. And that is just what I have done this time. A remake of a small piece of the Polar Express Suite! If you would like to remake this piece of the Polar Express Suite yourself, you can download the midi-mockup of this project on my Patreon page for free: https://patreon.com/gh0stwrit3r/

Hello everyone, I am eager to join the forums and check out everyone else's work! I just posted my first original orchestral track, Protector of Light on Youtube. Please take a listen and provide feedback! This utilizes orchestral sample libraries only, but I plan to incorporate live recorded instruments into future works. If anyone likes the music, please subscribe. I have many more songs in the works! https://www.youtube.com/watch?v=QsPGNgYxtuI&feature=youtu.be Kind Regards, StarCrypt

Hello everyone! I'm Norbert from Hungary and want to share one of my pieces with you i've written 5 years ago. I included a little backstory for this piece about how i made a little "Fiverr Orchestra" to play my piece which i mixed in with Note Performer 3's samples. Please read it before making any comment, because context matters! Thanks for listening! Enjoy! : ) (I also included the original midi files, along with the recorded live files and also of course the final mix with score. Also i'm not promoting Fiverr in any way as i stated in the pdf, i just wanted to give credits to the musicians involved, because they deserve it!) Here's the link for the midi version: https://drive.google.com/open?id=1CaRCS_8gdb49YOsqAAbKMmhM5eFNbEUC

Hello everybody ! Me and my friend Alexandra Fojtyik, made a cover of this beautiful song from Game of Thrones. Don't hesitate to give any feedback that you think would be necessary ! Thanks for listening ! :) https://www.youtube.com/watch?v=nCtoL6AUtYg

Hey Youngcomposers! Been a part of this community for years, and I'm so glad to see it's still growing! I wrote just a little adventure piece with some Celtic influences. I hope you enjoy it! I had a ton of fun writing it. Edit: I also threw this piece with some other ones on spotify. Feel free to take a listen! https://open.spotify.com/album/5I1tcYvpdeea9p3MQ5nrOQ?si=juYyyaajQVKWafkLuKM21Q

This is the first Waltz I ever have composed. It's in a kinda oriental sphere written. Would love to hear your opinions 🙂 https://youtu.be/8EPBmkm0vos

It's a planet earth-y style orchestral piece. I've got my own theories, but fresh ears are always a huge plus! Don't hold back:

Time is eternal. As sentient beings, we often fail to understand that despite the eternal nature of time, we -ourselves- aren't. At some point, our lights will extinguish -our lives will come to an end. This is scored for a chamber orchestra of one of each woodwinds (1.1.1.1), brass (1.1.1.1), vibraphone, timpani, and strings. Compositionally, this is an abridged sonata form. The exposition lasts for roughly the first minute, the development section lasts most of the work. The recapitulation was shortened to just a restatement of one theme (with textural variation) with coda. I'd love to have some comments regarding the orchestration -as that's still an area I'm trying to strengthen. Hope you enjoy!

So this is the first draft of an orchestral piece I'm working on for a submission. The name is just a working title. Some trouble spots: 1. I'm not a brass player at all -thus, I don't feel comfortable writing for brass (save the solo instrument, which I'm fine on). 2. Orchestration was not my strong suit in University -at least not in terms of full orchestra. Tips on how to handle the brass choir and woodwinds would be especially helpful. I'll be updating the wind parts here in a day or two once I figure out which contrapuntal lines I want them focus on leading up to the final climax. I'm also looking at expanding the material at the very end for the full orchestra -and playing with the interval in the 1st violin (as that is the main motif of the entire work). Hope you enjoy this draft -it's probably going to be changed.

The beauty of music is that it brings people together. From all over the world! It’s an universal language to which we all can connect. A couple of months ago I met macky@piano♪♪（まっきぃ） She is a wonderful pianist from Japan playing outstanding improvisations. Music that speaks to the heart and mind. I'm a big fan of her and it is a great honour to do this collaboration with her. A sweet, romantic music track within the atmosphere of Christmas. On the piano: macky@piano♪♪（まっきぃ） Arrangement, mixing and mastering: David Jansen [a.k.a. Gh0stwrit3r] I hope you enjoy it!

Hey everyone ! I'd like to share with you my first composition which is " L'étoile " ( the star in french) I hope you enjoy it 🙂 See ya J.Kaw © Julien_Kaw version_finale_etoile.mp3

Hello! I just would like to have some feedback on this track I wrote. I wanted to represent a typical traffic jam situation in a very big city. The piece is written for a large woodwind ensemble, piano and percussions.

I lately created this orchestral piece, because I wanted to create something "christmassy" but in a rather spooky approach. It was meant as the soundtrack of krampus (a european demon who punishes the bad kids around christmas time - the bad equivalent of santa or saint nicholas). The soundtrack actually tells the story of how saint nicholas conquered krampus but I don't wanna say more about it. Let me know what you think and what I did wrong in your mind. https://soundcloud.com/kfan45/a-tale-of-krampus-and-saint-nicholas

https://mixwiththemasters.com/itt31 Another freebie! Good day everyone! John Powell just announced that his mix with the masters episode is free to watch, so dig in 🙂 i adore his work on the dragon series so this is super exciting.

I composed a new music track. This time with solo strings, solo woodwinds, small percussion, harp, piano and supporting chamber strings. I've tried to accomplish a positive happy energy. I would really love to get some feedback on this one.

Star Wars belongs to our cultural heritage. The music is truly phenomenal! Written by John Williams, the man that plays in his own league. He is one of my biggest examples and a never ending inspiration source. How great it is then to attend a live performance of the International Symphony Orchestra of Lviv and the National Choir of Ukraine 'Dumka' playing his music (and from Danny Elfman, Hans Zimmer, Mykola Lysenko, Ramin Djawadi and Vangelis). It was mindblowing! In this video I'll do a short analysis of what is happening on the stage during the Imperial March, Darth Vader's Theme. The music track that has been released in 1980! Hopefully you'll enjoy it! And that it inspires you to write (more) orchestral music for film. Cause maybe on one day ... your work might be performed on stage by a symphony orchestra and choir like this 😉 https://youtu.be/t2L7cB5nRro From a theoretical point of view this composition is also quite fascinating! I can talk about it for many hours. Did you know: During the march all of the pitched instruments playing (strings, horns, and timpani) are at or near the very bottom of their range. The result is a very dark color to the sound. Harmonically, it focuses on the dark sound of minor chords and presents distorted versions of what would otherwise be normal progressions (i–#iv–#v–i in G minor) Melodically, the theme is constantly moving in the downward direction Fascinating!

Dear all, I would like you to write the series of traditional orchestral film music score-styled albums and conduct as well. I suggest we stick to seven albums and that would be enough. And they are: After the Rain - in the style of lush and romantic Maurice Jarre with a slow opening and slow ending (16 tracks) (Piano solos included) Sad Memory - in the style of mournful and emotional Elmer Bernstein with a slow opening and slow ending (16 tracks) (Piano solos included) War on Terror - 9/11 and the Iraq War - in the style of action-packed, dramatic, mournful and emotional James Horner with a slow opening and slow ending (32 tracks) (Piano and trumpet solos included) The Places Between - in the style of lush and romantic John Barry with a slow opening and slow ending (16 tracks) (Piano and harmonica solos included) Golda - in the style of lush, softer and dramatic Georges Delerue with a slow opening and slow ending (32 tracks) (Piano solos included) Friends and Lovers - in the style of lush and romantic Marvin Hamlisch with a slow opening and slow ending (16 tracks) (Piano, tenor sax and harmonica solos included) Notes of the Noblewoman - in the style of haunting and softer Wojciech Kilar with a slow opening and slow ending (32 tracks) (Piano and cello solos included) This will begin ASAP and when it's done I would like you to record each album elsewhere with the live orchestra and group of soloists in Los Angeles starting from next year. Please apply if you are interested. Sincerely, Lwazi Nkiwane

So here's another older piece I wrote some years ago which needs some feedback. Wanted to also add that I'm really bad with giving names but I think this name fits well 🤔 I hope you'll enjoy it 😁