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Your music is always so unique and complicated, a collage of wonderous sounds. I listened without analyzing, just wanted to say I enjoyed the ride you put me on with this. Well done 🙂

Also, the larghetto section at bar 817 is my favorite part of the whole 2 movement piece. I've relistened to it so many times, it's the perfect summation to the entire work to me.

haha! I expect you write a review in a dictionary's length haha! Thx buddy, I can never finish this without your inspiration, ideas and our numerous talks, and I can't thank you enough, but lemme leave this in the full acknowledgement section in the post for the whole Sextet. It's such a huge regard from you. Also, thx for all your effort for making the audio, I know how hard and tedious that is. Thank you for loving the piece. Thank you for kept saying that I can finish it when I kept saying I can't. Thx buddy 🙂

Congrats dude. Hopefully you've found the forum helpful in finishing this one up. I'm excited to hear more of your stuff 🙂

We've talked at length about this, and I've heard it more times than I can count lol. Well done buddy, this is a masterpiece to my ears.

This reminds me of some of the Frank Zappa stuff. 🙂

Practice every day, even if it's 5 minutes. Find a tune you want to learn and practice that until you've got it decent enough where others didn't mind hearing it, then pick the next tune.

Woah that's pretty insane 😦

Symphonic Orchestration | by: FILMSCORE

Thank you guys! Your feedback is helpful Also, for a bit of context, I am from India, so the music I have been surrounded with was the traditional Indian music (think Hindustani, Carnatic, etc.), not much of western. I believe it shows in this small piece.

Thank you. I tried to do something for fun but also to practice a bit of basic orchestration etc.... When organising the piece what I did is to group the voices sometimes by registers (mixing timbres) and sometimes by orchestral families. Greetings.

A TRIBUTE Re-Creation, Arrangement-Variation, of John Willams's "E.T. the Extra-Terrestrial" Main Title Theme.

Very interesting work, Luis. Seems to have a lot of your harmonic language interspersed in there as well which makes it a good, captivating blend between the new and old. The orchestration also sounds quite clean and well judged; I especially like the harpsichord with it's rhythmic backdrop. Appreciate you going the extra mile and providing us with the chord labels.

Such a masterpiece, Henry! I definitely savored the beautiful harmonies in the chant section, and the fugato passages, as I'm a bit of a counterpoint buff. At first I was worried about the coherence of the movement as a whole, but I can tell that you put in a lot of hard work in to develop existing material in a convincing way. I also like the accumulation of historical techniques from organum to fugue to more dissonant (quartal?) harmony, spanning and summing up many centuries of music history. All my compliments, and know that I sincerely admire your work!

Hi Ilias, Well done! These remind me of Eric Satie, which I like a lot. A few random thoughts: I like the cover art, it fits well. I don't know what modes you are using but it gives the pieces very interesting melodies, especially in the first two pieces, pulling the listener in. I appreciate the use of odd/non-duple meter throughout. It seems to add to the dream-like quality. The first two pieces to me sounded fully composed out where most of the pieces later on sounded almost like a jazz chart where the tune is played and then the chord changes are improvised on. The first time you used grace notes it threw me off a bit as I wasn't expecting it compared to the first piece. I can hear improvisation-like things a little in the first two, so I think all the pieces still go together, but in my head I've separated the pieces into two categories of pieces with improvisation and those without. For example, in "A Dream By Day", it sounds very improvisational around minute 7 or so. Maybe it's the ordering of the pieces, but after the first piece or two I felt setup for something and then was given something slightly different, made me pause and go wait a second. Not bad, just want you to be aware of the effect the whole album might have. I really like what's happening at minute 7:30 to the end of the piece.

Hey Mike! Haha yeah, I take the concept of a two movement plan from Mahler’s 8th symphony, and we all know his works are gigantic, so… Thx! In 4:15 I think I didn’t quote the fugue subject there, but I did quote it in b.184 consciously! I always love the second C minor section, it’s definitely one of my fav. Section in the entire piece! The modulation to the pentatonic, if you believe it, is a one off writing one day, and I thought then the modulation was easy to handle haha. It’s probably the hardest thing for me to have written and for sure it has a lot of content since it’s a 6 voice fugue! Thx for your review saying my first movement “from Modern to Baroque”, which inspired me to go even further to Medieval with the chant and parallel organum texture haha. The music fits my real life, as I was myself finding myself and trying to heal myself at that time. I knew I was sad but the sadness would go over. Your reading of the final moments is very similar to what I think towards mine. I finish this piece and finally realises myself, and I am so happy for it. The emotion there is definitely complex there especially in the Larghetto in extremis passage. I am happy and confident that my dedicatee would return to Tao since he’s such a wonderful stoic, much like Zhuangzi celebrating his wife’s death, but sad and regret for his passing way. You are so sensitive to that and I love your interpretation very much Mike!! Thank you! Henry

Hi all, thank you so much for your detailed reviews! I’m too tired now after finishing this huge project(for me), so I probably have to reply detailedly one by one! Henry

Hi @Krisp! Oh what! I didn’t review this one?! I love the first sentence when there are only E notes and harmonies filled by piano, sounds like one Schubert song I forgot the name. (Oh I remember it now, it’s Die Stadt in his Schwanegesang! Even though it’s a bittersweet, it’s probably the warmest thing I have heard from you, other than your Drape de Nuit. It almost sounds like the famous Schubert’s Linden Tree with the same E major, but of course with the orchestration the mood is different. I don’ know why, the high string accompaniment sounds very hopeful for me even though the protagonist is singing his pain. A wonderful work with your wonderful singing! Thx for sharing! Henry

Hi Maggie @pateceramics! Like Vince @Thatguy v2.0, I know nothing on choral music, and I’m worse than him because he can sing very well but I sing like a cow mooing with my low bass voice lol .I enjoy the somewhat Lydian notes and the suspensions as Vince mentioned. I particularly like section B with the more varied rhythm. That Phrygian ending is quite a surprise to me! I love wild animals too, but also plants or even non living things lol. Sometimes I talk with the fish and flowers like an idiot, or mentally communicating with the cloud floating above my head, asking why it shapes itself like this and it answers with absolutely nothing. When I was in Uni, there’s a huge pond with lots of beautiful fish. I used to deceit them by pretending to throw bread sticks to them by opening and closing my hands, and the fish would come, thinking someone would feed them since lots of people feed them, and then I would laugh at them. It’s always wonderful to communicate with other creatures and non-creatures, most of the time much better than other human beings. Thx for sharing! Henry

Hi @Dima Kravets, Welcome to the forum! I think you have nice use of motives and rhythms here! I also love the mood change with the texture change. Thx for joining and sharing your work! Henry

Hi @Some Guy That writes Music, Because I myself try something quartal and quintal in my String Sextet, I like your 1st SQ with the same reason! It sounds very refreshing and I love those textural change. For the 2nd one, I always love the viola singing mellowly. The cello in b.10 is lovely too, tho you should use tenor clef there to avoid the ledger lines. For me this one sounds a lot like new music, or even with hints of the slow mov of Bee’s op. 132, calm and contemplative. I really love the 3rd one! Very energetic and Ali love those rhythms and articulations! Also, a nice and funny modulation to F sharp major haha! Tho I think you can stay longer there before going to F sharp minor. The 4th movement is again contemplative and echoing elements from the 1st and 2nd movements. Tho this one is warmer because it invites trivial sonority. For me I definitely agree with @Fruit hunter, they sound like one piece with 4 movements, with common usage of quartal and quintal elements full of American colour. Thx for sharing! Henry

Hi @UncleRed99! I love the opening mood, but I feel like the instruments can move in a less homorhythmic fashion, and the strings can move more, for example in slow tremolos or other accompaniments, instead on holding long notes.I love the mood change in 2:4 which gives a softer texture without the strings. I like the modulation to E minor as it makes the music sound more earthly. As you have noted yourself, I do think you don’t present the E minor section long enough. For me, you should stay longer in that key by moving it to E minor’s related keys, or even a small climax on E minor, before getting back to F# minor in the Poco Adagio section. Also, the returning to the adagio section can have some textural change there, most notably for me the long held notes of strings! I like the texture in the Larghetto section, and I think you finally let the strings sing there! For me where you want some winds back, at most they should only be accompaniment, not even countermelodies because they are already featured much in the music, while the strings lack it! Thx for sharing! Henry

Hey Giacomo @Giacomo925! I have listened to the 3rd movement. For me I find it less attractive than the 2nd and 4th movement, maybe because of the slower tempo and the writing technique fits more to a fast movement than a slow one. The counterpoint and interaction work really well in a fast movement, but maybe for a slower movement you can have some more attractive melodies! Also for me maybe the emotion can be more intensive. That’s personal though. I again like the polyrhythms here. Thx for sharing! Henry

It's probably not exactly what you're looking for with "Microtonality" in the strictest sense, but there are some rock songs that are 1/4 step down. This is probably the result of tape speed and not actually intentional, though. As I recall some of Danger Danger and I think Pantera's albums have this going on.

Found a really pertinent YT video about this topic: Cadence Hira's "6 Levels of MICROTONES (in Video Game Music)":