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I have a nice piano VST and am willing to convert your midi for you for the delicious price of $0.00 dollars :thumbsup: If you want an example of how it sounds -- http://www.box.net/shared/a99v6jcs0o (One of Woodruff's older pieces that really benefited from a make-over) http://www.box.net/shared/kf5fl7hrp3 (MP3) or http://www.box.net/shared/vfdr1yos5z (MP3) Go ahead -- give me your well-articulated midi for processing, preferably in Box links for downloading.

I don't know, man... money's tight these days... what program do you use?

yeah, ok, so kudos for inciting people and making a scene, but overall a very boring piece. Trollololol, lala la la Can we let this die already?

I like how it starts, almost abstractly, yet still very tonal. Great orchestration -- though i'm not sure if the tribal beat helps much. The second, more brooding section has interesting overtones... Neat work with the vibes. I'd like to hear this developed more in the same vein...

This is the first ever piano concerto where the entire orchestra is tacet the complete time the piano plays. The orchestra represents society. The piano represents the individual. In today's world of cacophony in the media, the individual is silenced from ever expressing his genius by the society that breeds him, by silencing the orchestra, the most important statement ever made in musical history is here for our times. Piano Concerto

Having just listened to it, I was left wondering just what about it caused you, Sachs, to react so putridly. But it's obvious! You said it yourself, you were so put off by the theatrical overconfidence of the poster, that before you even listened to the music you built up this insane hatred for it, when it is clearly the kind of music that should at worst be met with indifference. Your argument seems to be based on two things: it is not good, and it is not representative of its genre. These statements could be used to describe most any music posted on this site, none of which you have reacted so meanly to. Well, your argument is not good, and it is (see SSC and jcramer) not representative of the site you claim the poster is cheapening. Perhaps you fancy yourself, like Debussy, a "hater of dilletantes?" Well, bravo, for you surely are. Ask a man what he hates most in others, and he'll tell you what he hates most about himself. But there are two prerequisites Debussy earned long before he wrote those wonderful articles, ones you have short-cutted. One was cleverness and novelty. While Debussy's Antidilletante referred to a cute Grieg piece he objected to as "A pink bonbon filled with snow(!)" you, Sachs, are forced to resort to the verbal arsenal employed by your nephew, the toddler. The second is obvious, isn't it? He was freakin' Debussy!!! Just to be sure, I made a quick survey of your own contributions. No doubt I assumed they would be on a par with your post, as you assumed of the original poster...but like you, I found exactly what I was looking for. As objectively as I can, I can assure myself and everyone else here that you ain't Debussy. Your two pieces certainly aren't trash (what music is?) but they certainly don't give you musical "street cred" sufficient to be able to judge anyone else's! No one's going to tear them apart, like you did to the poor solo concerto, but the silent indifference your pieces have been received by should shout to you just how "great" they are! If you think he's a troll, have the discretion not to feed him this limp bile. Because if he is, (19 replies in a couple days?!) that's exactly what he eats. Debussy had a palette of colors, both musically and in his criticism, that few have ever had. I suggest you acquire at least a few basic primary colors before you present yourself as his Second Coming, because the only "palette" you seem to be working with, Sachs, is an industrial toilet of beige and burnt sienna. :sith:

Thanks, prestidigilicious! Thanks for both taking an interest in helping this piece get performed and for your feedback about the piece itself. It's definitely not Career Defining Work (in wrote it in about an hour and a half), But its for someone I deeply LOVE and it is, therefore, special to me. Thank you too, Danny and jesusfreak1277, for your involvement and help. I am still working on the conducting video. I'm having one of my dear friends, who is a professional conductor, do the actually conducting. He is much better than I, in that arena, and he also has a knack for bringing out things is choral songs that even I didn't realize were there. I, myself, am a lyric baritone. So, I can do most of the bass lines. All we need is an alto. I was thinking that, if we don't get a lot of singer that want to be involved, we can simple create a full sounding choir by recording our vocal lines several times. Everytime that we each record our parts, we could use varying degrees of lighter and heavy sound to our voices, thereby creating the slight micro-tonal variations that you would hear in a full choir. What do you guys think?

Yes, in the 1970's, American Copyright Law made it illegal to create derivative works of existing, copyright-protected original works with some exceptions. It is not fair use to take a full fledged theme and create variations of it. This would be classified as a derivative work and derivative works require permission from the holder of the original copyright. I don't agree with the limitations this imposes on creativity, especially since any collection of notes on a page should have no such expectation to "not" be used as a source of inspiration for additional creation. This is how creativity works in the first place, because we simply do not create anything from nothing at all.