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Hello everyone, I'm Zhang Wenhao, a singer from China. Here I would like to share with you a song that I composed - "Ghost Party", a tango-style song that incorporates elements of musical drama. Welcome to listen to it. This song tells the story of a group of cute ghosts having a party, but being deceived by humans who enter their home. I hope through this suspenseful and twist-filled story, we can express a viewpoint: Don't prejudge things, don't view them through tinted glasses or stereotypes. 大家好，我是来自中国的创作歌手张文灏。在这里和大家分享一首我创作的探戈风格、融合音乐剧元素的歌曲《幽灵派对》，欢迎大家收听。 这首歌讲了一群可爱的幽灵在开派对，被闯入家中的人类欺骗的故事。希望通过这个充满悬疑和反转的故事，表达一种观点：不要先入为主，不要带着有色眼镜和刻板印象来看待事物。 歌词如下/The lyrics are as follows： 《幽灵派对》/《Ghost Party》 作曲/Composed by：张文灏 Zhang Wenhao 作词/Lyrics by：张文灏 Zhang Wenhao 蛛网厚结的房中已摆满 蜡烛美酒和丰盛的晚餐 无家可归的幽灵们 夜夜在此狂欢 这里没有外界打扰也没有不快 大家在载歌载舞间笑谈 今天又惩治了哪些混蛋 聊到兴起时飘向空中推杯又换盏 突然 陌生脚印出现在二楼地板 家中一定还有其他人光临 不信你仔细听隐隐的脚步音 管ta是 人或跟 我们同是幽灵 只要有一颗好心 我们一律欢迎 来共饮 幽灵们找到躲藏的女孩 她说被门外的恶人加害 义愤填膺的幽灵们 纷纷惩恶扬善 正要出手之际被知情的鬼阻拦 真相是她欠了对方的债 但是万般抵赖不想偿还 于是她编造谎言妄想来误导判断 反转 有正义感的幽灵把她驱赶 家中不欢迎你这种人光临 别再煽动利用我们的同情心 未知全 貌的事 不该轻易置评 人都挑有利自己 的角度来歪曲 实情 家中似乎还有其他人光临 不信你仔细听隐隐的脚步音 管ta是 人或跟 我们同是幽灵 只要有一颗好心 我们一律欢迎 来共饮

Thanks for your thoughts! On a night of roses, stars bloom overhead. Miles ago and years away, a furnace burst into flame. The fox-bright black births a new point, smaller than a thought, a whisper of light. The universe is breathing, and we, heady moths, drunk on the scent, In and out, in and out.

I decided to partially take the text from Psalm 22 and see what happens if you get rid of the "God" parts. This is what I came up with.

I thought it would be a nice challenge to write something that alternates between solo, trio, and full chorus. In order to follow the natural rhythm of the text, the meter varies a bit. I'd love to hear any thoughts you care to share, particularly about my piano reduction. I'm definitely not a pianist. Are there any notes you'd want to put in the other hand? Thanks! Let me hear of Your loving-kindness in the morning, for I put my trust in You; show me the road that I must walk, for I lift up my soul to You. Deliver me from my enemies, O Lord, for I flee to you for refuge. Teach me to do what pleases you, for you are my God; let your good Spirit lead me on level ground. Revive me, O Lord, for your Name's sake; for your righteousness' sake, bring me out of trouble.

Hi, I am a young gospel piano player. I have written a few hymns(just choruses) that I would like sheet music for. I have a rough copy for 1 and a audio recording for the other two. I am looking for a more experienced composer who can either write the music for me and/or help me so I can do better on future compositions. Thank you in advance for your help. (If Interested I can send you the audio recordings and rough draft scores)

Writing a song not sure if the choruses sound too empty? it's like chorus 1 connected to 2.

This is a Christmas carol for SATB chorus, based on William Shakespeare's poem "Song of the Holly"

I just finished up my Christmas composition project. Here's a two minute piece on the topic of "you need to define a thing to be able to think about a thing, so that you have a word to attach your thoughts to." Apparently blue is the last color to gain a word in any language. There are still languages that haven't evolved a word for the concept of "blueness" yet. One theory is that color words appear as we need to be able to distinguish between things that we want to buy, sell, or trade: "Yeah, I can make you a new deer skinning knife. What color do you want the handle to be?" "Blue." Because blue paints and dyes are relatively difficult to produce, compared with other colors, cultures don't develop a word for "blue" until they are pretty advanced. The cultures that don't have a word for it, interestingly have a hard time seeing and thinking about it as well. Scientists have done experiments where they have say, three green squares and one blue one, and ask these language users to pick out the square that is not like the others, and people have a very difficult time with the task. It seems that our brains need a word to attach a concept to in order to think about the concept. We need to think using our interior monologue. Actual language has to be running inside or outside of our heads in order for us to think in any meaningful way. It's an explanation for why you can't do basic math and listen to someone having a conversation involving numbers at the same time. So get out there and learn the names of things, any kinds of things, and your basic thought processes will deepen. I'd suggest that you open the score while you listen so you can see how the text fits the notes, or click the youtube link below. It has the score scrolling along behind the music. And I used a harp sound instead of piano, because all the piano sound fonts that come with my composition software are pretty clunky, but I do intend this to be piano accompaniment. Thanks for listening and I'd love to hear any thoughts about this piece! Furtak-Semantic.mid

A couple of friends asked me to combine the choral harmonization that one had created with a bass solo section for the other to sing and add an accompaniment for "O Holy Night." Here's what I came up with. I don't usually do arrangements, but it was kind of fun to have an assignment: use these choral parts, use this solo, put it all in this key, I like the accompaniment from this other arrangement, can you do something like that? But fancier? It feels a little plain... Hopefully to be sung at a couple of Christmas concerts by the group that the choral parts harmonizer guy directs and the other guy is doing the solo. (: Oh Holy Night.mid

A buddy of mine (Gareth Hearne) wrote this microtonal Sanctus in what's called "porcupine temperament", and I finally got around to making a recording of it: Similarly to how western music has a circle of fifths, Porcupine Temperament has a circle of small major seconds (approximately 160 cents wide). It approximates many intervals of the harmonic series as well or better than standard western tuning, especially the 11th harmonic. (Kind of like how barbershop singers sing their minor sevenths or augmented sixths flat to be in tune with the 7th note in the harmonic series, porcupine has a "fourth"-ish thing that lines up with the 11th note in the harmonic series and it, I think, blends very nicely!) If you have any questions on the theory I'd be happy to talk about it, thanks for listening =)

Hi everyone. This is a famous chord progression used in the chorus in pop songs, in the key of C major: F - G - Em - Am - Dm - G - C :|| However, there is a variation of this chord progression. After the repeat, the bass goes as: F# - F - E - Eb - D - G - C Can anyone figure out what are these chords? I'm assuming that they are: F#dim or F#m7-5 - Fm7 - C/E - Ebdim - Dm - G - C Here is an example of the chord progression: Thank you very much!

I love this text from Pliny the Elder's "Natural History," and I think it suits itself particularly well to text painting as a choral piece. I'd love any feedback, but particularly if you notice problems with my use of the latin (I never studied latin), or can think of any changes I should make to the piano reduction (I'm not a pianist.) Thanks! sed turrigeros elephantiorum miramur umeros taurorumque colla et truces in sublime iactus, tigrium rapinas, leonum iubas, cum rerum natura nusquam magis quam in minimis tota sit. ...cum in contemplatione naturae nihil possit videri supervacuum. We marvel at the shoulders of elephants carrying turrets, and bulls tossing aside whatever stands in their way with their strong necks, at the ravening of tigers, at lions' manes, but Nature is nowhere greater than in her smallest works… in the study of the natural world, nothing is superfluous. Here is a youtube of the music with the score rolling by. [Edited 6/12/24 to add multitrack recording version of YouTube demo].