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This is interesting. Having in mind that music and composition for me is a passion and not my occupation or profession, everything changes. I write music as a personal adventure, and as a (potential) way to express my emotions (although only I understand the "meaning" of the music). I think I am eclectic to the extreme. I like to learn all the styles and techniques and use them all as composition tools. No matter if they are tonal, baroque counterpoint, modal, atonal, impressionistic, expressionistic, minimal, tone clock theory or whatever. This is something many people don't understand and dislike in my music sometimes. I don't see a problem when putting a a major 3rd over a minor chord. I have studied classic tonal music, but it has no longer meaning for me in terms of writing, at least as exact imitation of those periods. I respect the work of everybody, and I myself write tonal music, although I always try to introduce modern elements. So, I'm into contemporary techniques of composition. Not only atonalism, which is what everybody thinks when saying "contemporary". There are many many other ways to organize the music. I like to explore all of them, even mixing them.... And, in the end, what I search for is working with all that big palette of tools to translate some emotions into music. Hard, isn't it? That's why, apart from many things I compose as a training, I write less pieces now.

Hey guys, I recently did a cover of Roxette's 80s hit "The Look" with the original studio vocals. Perhaps it's something you'll enjoy. and if you just wanna hear my instrumental

This is a really interesting conversation. I guess I never really thought about it because I'm a euphoniumist first, then a trombonist, then a tubist. Since everyone has given some great responses, I'll give my $0.002 Tuba: The tuba is the youngest and lowest brass instrument. Don't be scared of this awesome instrument. The tuba will round out the bottom end of your music so well. It can project as well be an additional foundation to your bass. Euphonium: Not a very common orchestra instrument. VERY common in band. Some people use this in when parts are written for tenor tuba. This instrument is the closest to the male voice (some argue trombone.) Even with that argument, it's more agile than the trombone because of valves. Trumpets and Trombones: Man, what a duo. VERY powerful instruments with much punch.. YOu can use them in so many ways. You don't have to relegate these awesome instruments to just fanfare type motifs. They are very capable of handle rigorous AND MELODIOUSLY warm passages. Don't look at stuff in the classical period as your guide for these instruments. The trumpets were not valved, thus very limited. Also, IN THAT TIME, people didn't realize the trombone could be a virtuous instrument. Horns: IMO, there is no better instrument that can "bring home the bacon" like the French Horn. There's nothing like giving the Horn a countermelody in ANY range and you feel it. I leave you with the GREAT RESPIGHI!

Oh wow. This is pretty messy and redundant. It's also horribly organized. Here, let's tear down this first part: Well we're off to a great start. After all music is usually a kind of sound, right? Let's see where they go with this-- Oh. Oh no. It's one of these people huh? A and B are pretty standard and, well, quite objective to measure (Timbre is a physical phenomenon as are decibels.) C is, I guess, "using" A and B? OK, I guess, but then there's a bunch of other stuff in the description of timbre (shouldn't it be sound, as the title suggests?) that just go off the rails. Either they should be their own little bullet points, or maybe their other entire sections? I mean, if "idiom" is defined as Isn't that basically the actual composition itself? Why the hell is this part of SOUND, then? Might as well put everything else into SOUND too, then! Or you're telling me that something like a frullato isn't a rhythm AND color/timbre technique? Or how about dynamic? Cuz of course different dynamics sound different (different timbres) in different instruments, so you can't leave that out of SOUND, right? I mean, hell, you even added range, so why not dynamic too while you're at it? And last but not least, you do know that fabric is a synonym for texture, yes? BUT WAIT, THERE IS MORE!!!!!!111 I'm going to skip the redundant melody and harmony bits because they could've just been lumped into "pitch" and be done with it (with bullet points for finer details, but as we shall see they totally drop that idea right after the first point. Maybe it was too much work.) OH so this person is NOW acknowledging that stuff may be ambiguous? Seriously, ya think? Also, I love the wording. Let's talk about axiomatic conditions, sure, let's do just that. I love how none of the other segments get A-B-C style bullet points, even when they should considering the amount of crap this person packs into each. However, I'm willing to cut them some slack because rhythm/time is a pretty concrete and well understood musical element, so whatever. That's not to say I'm giving this nonsense a pass: The what's it now? See, this is what happens when people purple-prose stuff that doesn't need it. I'm thinking they kind of wanted something like Star Wars' "Force" but for rhythm, see? Cuz really, otherwise this "consciousness" makes no sense to even consider as it's not tangible in the slightest nor does it really mean anything. What the hell is a "multidimensional structure of motion" again? Remember kids, please define your terminology before you start talking about crap because otherwise it means nothing, SPECIALLY if it's super high-concept like this. But the last point is probably my favourite. Behold. I've read it probably ten times, I still don't understand what this person is trying to actually say. What the hell is a "sense of achievement something permanent"? After thinking about it for a great number of seconds (probably the amount of time the author had to come up with this crap), it occurred to me they may be talking about the fact that music is written down but it also gets performed across time? But I really don't know. They also keep introducing new terminology without defining it and no, for those playing at home, "Growth" wasn't defined at all. They just offloaded the meaning into two other poorly defined terms (Shape and movement.) Well done. Yeah, no. Skip this nonsense and just actually listen to music while reading scores. 100000% more effective and a lot more fun than trying to understand whatever rambling this is.