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Hello @Aleon Raven and welcome to the forum! What an intense, lucid and mesmerizing track! It starts very underwhelmingly and takes its time to build up to full intensity. I love how hypnotic the ostinato pattern makes the whole track. And there's plenty of variety and key and meter changes (or at least it sounded like the ostinato was being played in different kinds of subdivisions of the beat sometimes). The orchestration is masterful. The rendition is top notch - extremely realistic even with the choir. The melodies are so subtly interwoven too with the ostinato being almost treated like its own melody. Very happy to have you here - thanks for sharing and I hope you continue to contribute your music and useful experience as a composer, orchestrator and producer! Edit: I noticed that at 3:28 there is a sudden dip in the whole tracks volume level. Is that intentional?

I find percussion hard to apply. To get a better feel for the masses of samples I had I wrote a couple of pieces for percussion only and one for voice and percussion, far different from cinematic writing. I think I may have submitted one of the pieces here - can't remember. They seem more novelty pieces with a good amount of learning as a result. Then suddenly a potential student applying for a course at the Royal Academy of Dance with whom I've worked before wanted a contemporary piece for her audition. She was rummaging through my stuff and found one of these pieces.

As I understand, laisez vibrer normally applies to percussion instruments, meaning let the sound die away without any damping. I've not heard of it used with string instruments (except harp, guitar and like instruments). It wouldn't seem effective as an articulation. Then again in modern performances and uses of acoustic instruments it wouldn't surprise me if someone has found a use for it.

A great piece. It is emotional, with a piano that is not too complicated but enriched by the strings. It would be nice to put the instruments on the staves at the beginning, although it is obvious when it starts to sound... The video format is very good especially when it is well edited, as in this case. The pdf is better when you are interested in analyzing something or parts in detail. I think they complement each other. My only observation is that the strings have a rather “passive” role almost always, as harmonic support or doubling some melodic line of the piano. In the G part, for example, there is some sketch of independence of the strings.

A surprising work. The pace is a bit frenetic, although it calms down and contrasts a bit at the end. I think the ostinato rhythm of dotted eighth notes predominates for the most part, but I do find that there is a lot of variety. At measure 189 it is clear that this is a tonal cluster. I've never seen it noted this way before but I don't see a problem with it. The piece runs very smoothly and the transitions are great.

Hello everyone, I’m super excited for my first post here. My name is Sergei and I'm starting my composer journey right now (under the name Aleon Raven), finally releasing some of my works to the public after finishing studying scoring for media, and as I’m a huge fan of Thomas Bergersen and epic music in general, I decided it would be cool if my first released track is actually the one that was made in attempt to come as close to epic music as I currently capable of. Immense amount of time was spent in the DAW for this one, so the next challenge is not only to improve, but to get to this result somewhat faster... 😀 Hope you'll enjoy this kind of music here! Sergei aka Aleon Raven.

The melody sounds fascinating, melancholy, and mysterious. In some areas, it almost sounds similar to Yanni, especially around bar 51.

Thank you NickReh for your review, your appreciation of the piece and your suggestions of alternatives. I appreciate it.

But very bad acoustics haha! Yeah it advertised tho I’m not interested in those incidental music haha! Yeah it’s good in the first sight and as tourist! But bad enough if you really live here! Henry

Oh! We could have crossed paths there! I stayed for a week and returned last Sunday. It would have been nice! I was there for several concerts at the Hong Kong Arts Festival. Beautiful concert hall ! (we had already been there 2 years ago). The program was a kind of cinema concert on Beethoven music. I loved this second stay. The city is fascinating! The first stay was still rather strange because the Covid measures were still active. We sang Fauré's Requiem there.

I recently have been working on a piano piece, can I get some feedback on the piece? I would mainly get feedback on these but other advice is appreciated: Form - is it noticible the ABA + coda form? mm189 - is it clearly notated what to do? is the rhythm diverse enough? Thank you!

Thanks for tips! I’m fairly new to this

Here is a plausible cadenza based on this

This is a rock piece for many instruments. This is my original style and there isnt much inspiration from anything. It is structured kind of like a rhapsody. I'm 17 and still somewhat new to rock composition. I apologize for the bad sound quality this is just a draft and the final product will go through Ableton and onto an album.

Hey Luis! The low register of the tremolos are probably inspired by @Thatguy v2.0 Vince! It is quite dark as to create a contrast with the bright ending of the 1st movement! For me I always want to ensure all transitions are smooth and I think it works here!The b.153 harmony is when I want to have the opening melody of the 1st movement crushed by dissonant harmony beside it. I love the climax to b.197 too! Yeah the fugue is hard to make but definitely worths it. Thx to your introducing the Metamorphosen to me, it becomes one of my favourite piece now! For b.754, I never think of organ but I think that’s a great comparison! Thank you! Also, thank you for mentioning tritone substitution in one topic here. That becomes my inspiration to solve one of the riddle in the passages when I need to use both tritones and modulate quickly! Henry

Hi Henry, thanks for listening. They asked for 90 seconds: so I've given them an extra 20 seconds as a bonus! Hopefully they won't be too strict about it.

Hello @Alt, By looking into the score, remember to add details in it! Slurs, dynamic markings and expressions would add much more flavour to the music! Tempo marking at the beginning is mandatory too! Henry

Hi @Alex Weidmann, For me it sounds fitted to a space related podcast! Will the podcast take the first few seconds pr the whole duration of the track? Two minutes seem too long for the theme I guess? Thx for sharing! Henry

So well fitted to the film Castle in the Sky, tho a bit too sweet to take it outside the film, just like the Rite without the Nijinsky ballet dance sounds weird to me.

Hi @benyamind, That’s interesting, the microtone does create some special effect. @PeterthePapercomPoser must be interested to find this as well haha. Henry

Hi, The following is a microtonal composition I'd like to share with you. It's made in 31 equal divisions of the octave, a system that has access to lots of harmonics and allows for interesting harmony. It's a system I've been working with over the years and I often go for spectral soundscapes, like this one. If you have any questions, do ask. I hope you enjoy the sound.

luderart, well done. Good, memorable melody lines and overall sound. I like the double stops near the end. I would have liked it to go on a bit longer. Maybe a second theme added and the two combined later on? I wonder if a few more bow markings are needed in the score to help the viola, or if you mean for there to be this few? I also wonder if you want to add a few dynamic markings? Should the piece start forte or piano? The last measure to me sounded a bit too playful for the tone of the rest of the piece. I'm not sure why yet or what I would like to hear instead. And I like the pizzicato. It may because it sounds so final? Maybe not octave G's but a Bb and G instead? Or maybe not even a Gm harmony but G and Eb or something that doesn't give the listener such repose and finality. Again, well done!

Hi, Im looking for 70's greatest compositions Any suggestions ?

Db.pdf Here is the score if anyone’s interested

Hi to all! I've recently been asked to write a theme for an unofficial Star Trek podcast. Obviously I'm not allowed to quote any of the original themes, but the brief was: James Horner! Its supposed to evoke "Star Trek", without actually quoting any copyright material. So this is what I came up with. Think my percussion needs a bit of finessing (especially at the end), and I still have some work to do on the balance of the mix, and the mastering. (Sorry about the score: it's designed for midi rendition only, as I don't expect this will ever be played by real life musicians!)