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This is a Level 2 concert band piece inspired by the book "I love you Forever" by Robert Munsch. For those of you that don't know the main theme of the book is a lullaby that the mother sings to her son throughout the progression of the story. "I love you forever, I like you for always, As Long as I'm Living, My baby You'll be." My mother put the words to rhythms and music, and now I'm presenting it to you in this piece through the melody that you will heard throughout the piece. The piece can be divided roughly in the following sections. M. 1-2: Introduction.M. 3-10: Main theme and development.M. 11-14: Variation of main theme (Trumpet Soli)M. 15-30: Second theme and development (Brass and Low Wind Chorale.)M. 31-38: Third theme presented by woodwind choir.M. 39-42: Restatement of main theme presented by low winds and Euphonium.M. 43-46: Minor Inversion of main theme presented by Oboe, First Clarinet, and middle voices.M. 47-57: Climax.M. 58-60: PostludeThis is a very personal piece to me, and if anything, I hope you can find at least one thing you enjoyed! Thank you so much!As Long As I'm Living As Long As I'm Living

So what makes this piece a harmonica/bass piece and not a basic piano piece? Which is how it reads and sounds. You're not exploring your instruments' potential or writing for the instruments. It seems like you banged something out on the piano and then said "this would be cool for the weird and underused combo of bass and harmonica". On a C-harmonica, you have the ability to play any C, three different ways (excluding bends), just about any C-sharp two different ways, any F two different ways! And guess what, they all have slightly different timbres (especially blowing vs. drawing)! And speaking of timbre, that can easily be manipulated by slightly changing the mouth shape, or cupping the harmonica, etc. And bends! An essental part of harmonica playing (though not with the chromatic harmonica, so much) comes from bending notes. And that gives you oh-so-many possibilitie. Looking through it, there seems to be little regard for breathing -- though I guess an F here or a C there can be drawn rather than blown to facilitate that. But again, that changes the sound. Which you clearly haven't taken into account. But, for example, the opening measure. How would you play that? Would you draw the F and blow the D or blow both of them? Since that makes a big difference on how its played and how it will end up sounding. I agree about the 16th notes. The unison rhythms are extremely boring. Measure 40, those thirds are strange, same with the octaves in measure 56. I definately do not think this works, at all, for your instrumentation. Chromatic harmonicas aren't rare, I have one as well. Mine isn't four octaves, though.

Hey guys, I got a whole panel of people together and we all decided the winner of the May Competition! By a slight margin, as both pieces were exceptionally well done, the winner is... JASON! Congratulations to both JAWoodruff and SergeofArniVillage, and I will give you guys more in depth results (as in what you did good and bad, comments from members of the panel) upon my return next week. For now I'm off to see a Gustav Holst concert! Also, we decided not to count Anno Domination as it did not follow the requirements enough.

:lol: :lol: :lol: That was mean. Here's his site: www.youtube.com/user/fabledpilgrim

Greetings, First off the back, you can't really say this piece is for "wind symphony" because that constitutes that this piece is for more advanced bands; at least that is what I've been told from many professors, teachers and fellow composers. Also your Horns should be under your Trumpets as far as appearance in the score, but it is your call if you don't plan on getting this piece published. Now, this is a very beautiful and flowing piece. Tears nearly came to my eyes and I really enjoyed the piece throughout. You have a talent of writing very somber and poignant pieces that I can really listen to. You orchestration in some places was very simple, yet beautiful and added some very nice colors (i.e. mm. 15-31). I will say mm. 47 was not the greatest place in the piece for me. I felt there was just too much going on and the main melody (perhaps even a countermelody?) was being drowned out by things that clearly belong in the background; this is probably due to Finale. I felt measures 56 and 57 were the perfect ending to this piece instead having it end with those last three bars; perhaps I'm just not warming up to it enough. Those last three bars just came off as a little unnecessary to me, but they somehow fit within the piece. Maybe I should just analyze it again. Your use of harmony throughout the piece added much color and emotion, maybe I should be learning harmony from you. Haha. All-in-all, this piece is a true representation of your talents and I would love to hear a more dramatic/engaging piece from you in the future because I feel it would really test your compositional skills. Please, please, please continue to compose music! Peace, C.L. Winston :)

Awesome! Ten stars for real. Upload the full work. :blink: C Trumpet is a *non-transposing* instrument. If the composer wants C Trumpets, then they're written in concert pitch. Sometimes if the part is in Bb and no Bb instrument is available (and vice versa), then the players will transpose on the fly. This is especially true with F Trumpet parts of old where one would have to transpose up a 5th (on a Bb Trumpet). There's debate actually that it may be *easier* to play in the upper register on the Bb Trumpet because of the larger tubing. That's one of the reasons Bb is used in Jazz bands. Though the difference is slight at best and not of concern to the average composer. Everything here is mostly right. Orchestras nowadays typically use Cs, but Bbs are far from unusual. They're basically the same deal as far as the composer is concerned. C trumpet is slightly (very slightly) more vibrant and brilliant. C trumpet is a concert pitch instrument, there is no transposition in the part or in the playing. Bb trumpets are used in Jazz bands because of tradition. The C trumpet is a higher trumpet and is actually easier to play higher notes with. That's a non-issue in this case. There is no issue with transposing. It's kinda like setting your keyboard to transpose up two semitones. But Cs do blow differently and have some different recommended fingerings than the Bbs. It's not like a Bb player who's never played one before can pick a C up and play with the same facility. He'd play quite a few notes out of tune and would probably be out of sorts readjusting his ear to hear "C" being a whole step higher than he's used to. [edit] I don't like to do things like this, but I have to ask: who is it that puts a dock on my "reputation" half the time I chime in on trumpet stuff? I am a teacher and professional trumpet player, guys. I'm listing pure facts, here. If you have a problem with what I'm saying, grow up and tell it to my face instead of taking anonymous potshots. It's all in the spirit of music. Nameless poo-pooing ain't.

OMG.... OMG... I actually won one of these???? Now if only I could win a real competition :S Thanks!