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The Hallowed Knight's Journey.pdf The Hallowed Knight's Journey.mp3

MuseScore doesn't need internet either! Unless you're using a third party sound library like I do. I pay for LABS sounds. They have an offline mode that works for 30 days at the time though, so can still go offline and use it on the go 🙂

➋Additional Pop- videos.............. Popular in Club-Bars with Big-Screen TVs.

The latest comment from the client is that this piece is too treble-heavy. So any ideas on how to enhance the bass-line would be very helpful. One thought I had was to just push up the faders on the low strings and low brass; but maybe that's a lazy solution! Also could duplicate the double-bass an octave lower on a bass synth, and add some parallel compression on the bass drum and tomtoms? After I'd written it, I noticed I've ended on a rather odd chord. It resembles E major, without the tonic, and with an added second. To me it sounds fine; but maybe I should change it? Here's an updated version of the work, with stereo-panning, and added counter-melody near the end. Hopefully an improvement?

Hi all, This is the first completed version of my orchestra work "Love's Endeavor". I believe you can categorize it as a post romantic style composition. Feedback is most appreciated. I look forward to your comments. The score is in C.

Alex thanks for your comments .... This was my first foray into orchestral composition and holds a special place for me. By the way ... I just listened to it again ... guess what ... I will tweak the ending once more! Just a quick return to her theme (as she runs home) before the last measure . Mark

Eh I would stick with musescore, it's pretty much the same but I'm just used to Sibelius. The experienced users of musescore seem to be able to create great mockups and scores, I wouldn't pay for something else. I do like the offline composing option, but other than that it's nothing different

I love this type of stuff. Here, have a badge.

Whats a rebrand?

I think any animated score idea is good for YouTube. Very cool man, I had forgotten this one.

Well you did get definitions with the concerns haha Also, obligatory Henry is awesome post. You know it, we know it, this piece is a great achievement, etc. Well done my good man

Very nice music, you have a great voice :) As said earlier, a bit of variety or contrast would help, especially if you wanted to extend the material. Even if you took the melody and chords and gave space for just chords to break up the flow woukd be nice, wouldn't have to be something complicated. As is, it's wonderfully singable and stuck in my head already haha. Well done!

Bro what is this. Is that your music? I'm genuinely confused

Nice work Mark. I like the way you draw so much material out of the simple catchy motif at the heart of this piece.

Hi @FILMSCORE! This is the funniest comment I have ever received here on YC. I thought it's a comment on YT. So in your perspective, what do you mean by Originality, Style, Uniqueness and Static? I would be very interested to listen to your unique perspective haha. Henry

This is a piece for orchestra, with a prominent solo Violin part, similar to Danse Macabre. The story is a journey through tales of fairy and monsters in the woods, with the violin acting as a Puckesque narrator.

TDM VERY DRAMATIC !..............Very Talented..........Gifted by GOD

Thanks Mark

VERY NICE !......................more-more-more

Recently arranged and composed this Rebrand...............Within the Allotted Time Frame , set by the Network.

Interesting Article For further Study:

From my perspective ..............it lacks 3 concepts : 1: Originality 2: Style 3: uniqueness If you can Master those concepts...............you wont remain "Static" ---------------------

I don't think I've listened to this in full yet (as one complete work). A lot of pentatonic influence, which makes the intro to your fugue at 5 minutes in a lot more noticeable since you break out of pentatonic briefly here. It's fantastic in building tension, and a great foreshadow to the full fugal section that comes later. There's also a lot of interesting key changing going on in the first 5 minutes. One minute we are in one key, then all of a sudden, we are taken into a different key. It's a great way to change the focus and break up the momentum! The intro to your 2nd movement is powerful. I think this may be one of my favorite parts of this piece. This is about 16 minutes in. The part at 16:55 where the violins take over the melody, is just mind-blowing to me. I love buildup like this. I think this works because not only is this a great melody that you are using, but the harmonies are not overly complex, and your modulations are as smooth as butter. Also in terms of smooth vs abrupt key changing, the way I look at it is this. When you change key that feels more abrupt, it's equivalent to changing chapters in a book. That's why this type of key changing can be effective if used strategically. I'll list some more notable parts of your entire work: 19 minutes in, this is starting to sound a little like Mendelssohn. I think this has to do with the style at this particular section. 22 minutes in, one of your more dissonant moments, maybe a little fantasy-like here. 24, beautiful recap of main melody, a great reminder to the listener of what this piece is really about! 25:40, this is an interesting part, because this sounds like a call and response technique that you used here. Again, this is a great way to break up momentum because its out of character for this piece. 26, you know how I feel about the fugue and last movement since I've left reviews about them, but the fugue is probably the most complex part of this piece. This is why I featured part of that movement in my highest viewed video to date, on how to change key. A fantastic and highly emotional piece! There are a lot of great techniques used to keep the listener focused, and to help them follow your journey. For example, it's not just a fugue or, it deviates from normal functional harmony. But some parts have functional harmony. There's a lot of usage of the pentatonic harmony that you made excellent use of it in your story, but you deviate from that that too. Overall, this highly organized work, and strategic usage of dynamics, rhythms, and smooth vs abrupt key changing tactics are what brings this piece together.

I completely agree with the previous comments about adding more melody and giving the sixteenth notes more of a place in your composition, developing the idea and possibly fitting in a coda. Moreover, I think that splitting the accompaniment into the two staves looks rather ugly how it is done right now, and most importantly it makes difficult distinguishing melody notes from accompaniment ones. Can you create two voices in that stave? I really liked the dreamy harmonies employed here. From what I heard here I believe harmony is your strongest field in composition. Perhaps as a future goal I would recommend adding some more modulation and even thinking about implementing non-chord tones into accompaniment figures. Thanks for sharing Manuel

Hello Henry, A very Schubertian piece you have here, with effective shifts between different textures and meters. Lots of smooth voice leading in your chorale too, though I detect a few parallel octaves in the inner voice, which is unimportant in the bigger picture. I see you are quoting the theme from your 1st "pastoral" sonata, are these two pieces (intermezzo and musical moment) suppose to be a summary of your old style? I don't think you are striving for too much originality here, but I do hope you translate the originality you've achieved in your sextet into your smaller pieces. That way, you will be able to build a style that is recognizable across many genres.