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Hey, give it a try. Won't hurt. ;) Just put in more chromatic lines and more bold virtuoso writing. ;)

In this thread I invite: a) Any performer who wishes for a specific piece to be written for their instrument to describe the piece they are asking for so that the many composers in here may choose to take up the challenge and compose the piece they are looking for. b) Any composer who is looking for a performer for a certain piece to provide the link to their composition and get in contact with performers of the instruments it calls for to arrange for possible performance. I hope that in this way the right composer and the right performer can be helped to find each other and join together for a fruitful collaboration and perfect partnership. I believe a special thread made for this purpose (such as the present one) can immensely aid in the creation of such collaboration between composer and performer so that both can achieve their aims - the composer getting the pieces he/she composes performed and the performer getting the pieces they wish for composed. The composer and the performer both need each other and cannot fully achieve their aims alone. So collaboration between them for the fullest realization and furtherance of both of their aims is of paramount importance. They need to communicate so that each can learn what the other expects from them and take it into consideration as they go about achieving their respective aims. These respective aims of theirs need not diverge from each other or be mutually exclusive. It is exactly this that such a collaboration between the two will help them realize in the long run. I got this idea after I mentioned in another thread how we composers were at the mercy of performers and an oboe performer here offered to play and record it if I wrote a good piece for oboe. Thus was created the opportunity for collaboration between a composer and a performer. I composed the piece and he liked it. And now I am hoping to hear his performance of it. And so, encouraged by that positive experience, I hope that it can be made possible for many others via this thread inviting very such collaboration between composers and performers.

Thanks for the initiative, Luderart... Since it's easiest to have a solo work performed, I have the two piano pieces I've uploaded so far: The Nocturne in G minor, Op. 18 (I'm glad to say this one is already under study by fellow member DinaHeartX :thumbsup: ) The Piano Sonata No. 3 in C, Op. 23 (perhaps some could perform a single movement or the full work). Anyone deeming them performance-worthy can let me know :toothygrin: .

Thus, if I said I was interested, no one in YC would ever believe me :P .

LOL! :D

Another good idea is leaving it 'til the day before the exam and then posting on an internet forum in the hope that someone will supplement your entire year's study of one of two pieces with a couple of sentences about the other.

Sorry, still not correct, and it's important that elysian not walk away from this discussion with an incorrect understanding of the terminology. The whole point I was making is that not every music plugin is a "soft synth", and certainly not Kontakt & Samplelord, which are definitively samplers. Neither Kontakt nor Samplelord have oscillators (or wavetables or granular processors) and therefore are not synthesizers — period, and the presence of an ADSR module is not indicative of synthesis because that kind of basic envelope shaping can be applied to any audio source, whether synthesized or sampled. So, once again: "soft synth" is a meaningless term that you'll want to avoid — call it a virtual instrument plugin. VSTs are one of several different file formats for audio plugins. Two of the several types of virtual instrument plugin types are synthesizers and samplers. The first produces & manipulates sound on its own, the second simply plays back & manipulates pre-recorded audio samples. They are not interchangeable, the term "VST" is not equivalent to "virtual instrument plugin", and — again — none of this is going to be important to you until you get to the point where you're producing music in a DAW and are primarily concerned with a final audio product rather than notation. As a funny and even more confusing aside, way back when, Finale's built-in sounds were called the Finale SoftSynth...but it was in fact a sample engine (and a pretty awful one at that)! :toothygrin:

The term only exists in notation software and was devised as a clever shortening of the full term by some dude in marketing who thought that by making it sound like something unique, they might attract more buyers. So I don't recommend using it. Calling a software synthesizer a "soft" synth in a crowd of synthesists will get you ridiculed. Also, there's no such thing as a "hard" synthesizer — it's just a hardware synth or software synth. One is a physical machine, the other is a computer program. Connor is, respectfully, wrong about VSTs. In the world of software instruments, the way that you use a particular thing is (most often) by integrating it into your audio software as a plugin. These plugins come in a variety of different formats, only one of which is VST (think of the formats as file formats — like MP3 or WAV). Not all VSTs are software synthesizers though. A virtual instrument plugin can produce sounds a number of different ways, the two most common being synthesizers and samplers. A synthesizer is — very very basically — a piece of software that emulates the original hardware technology that creates sound based on advanced manipulations of very basic waveforms (sine, triangle, pulse, etc.) A sampler, conversely, does not generate its own sound. Instead, it acts as a very advanced 'player' of pre-recorded audio material. Garritan and the Vienna Symphonic Library are both sample libraries, and as such they integrate into your audio software as sampler plugins. They produce sound by calling up pre-recorded material rather than generating the audio themselves. If you're using notation software exclusively to write your music, then none of this kind of stuff really applies to you. It only becomes meaningful when you start working in a proper DAW (Digital Audio Workstation) with the intent of creating realistic mixes on your computer.