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Splendid idea, and good execution, so kudos! I think it is very good not only to count the reviews, but also apply some qualitative criterium. I wonder though how that works. The like button comes in mind, but also the funny posts are being liked (at least by me) so it can be safe to say that not only the quality posts are being filtered by the 'like' button. Oh, and a color scheme thingy. In the YC Dark scheme the names are hard to read.

I have to disagree. I don't like the presentation. The idea is good in theory, but it needs some polish and possibly a few of the dents hammered out.

a lot of people want to play oboe. just go to the duck pond. you'll learn a lot. (I don't believe that actually but it's a little funny :P) SYS: I think we have my great grand-father's clarinet in the back somewhere

Tonalism is just one of many tools that modern composers can utilize in their work. The influences of the 1st Viennese School, as they are called, were many. Here is a small list: 1. Form - Sectional forms were refined to a great extent by Haydn, Mozart, and Beethoven. Sonata Allegro Form also was expanded upon by these three. 2. Thematic Structure - It was through the work of these three composers that late concept of the motif, leitmotif, and theme were refined and eventually established. Later composers, such as Wagner and Berlioz, expanded these concepts. Setting up matrices for serial composition also sets up the motivic structures within the work - these motivic structures are then developed utilizing many of the conventions established the 1st Viennese School. Again, as others have said in other threads, the Second Viennese School considered it's work as a continuation of the tradition and not a total departure. 3. Thematic Development - The means at which themes, motifs, and leitmotifs were developed was largely expanded by these three composers and then further expanded during the Romantic period. These are just three of MANY different contributions made by Beethoven, Haydn, and Mozart. One important thing to consider when looking at influential marks of earlier composers in later composers work is that harmonic language has constantly been evolving since about the 11 Century AD. Thus, when you hear a work of Mozart and then hear a work of Stockhausen that echoes back to Mozart... you're not going to notice it harmonically.

Some nice stuff in here. Lacked a little bit of drive, to me, and some of the ostinato stuff got too repetitive. Enjoyable though, and nice exploration of harmony. Why did you use a tuba sound for the bass trombone?