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:')

I have finished writing down the solo piano version of the piece that I improvised and am wanting to orchestrate. I mentioned it in the first post in this thread, both the piece and the orchestration: As I stated in that thread, it goes through 4 different emotions like this: Lamenting(Beginning C minor arpeggio and quiet melody) -> Dramatic(Loud, Beethovenian outburst) -> Hopeful(Relative major followed by modulation to parallel major) -> Joyful(C major at last, the music breaks free from C minor) It took me a bit more than a week to write down the piano score. Main reasons are distraction and just taking a break by composing another piece. The PDF of the piece has a lot of orchestrational comments relating to motives and instrumentation. There is a section where I have a solo in the bass clef and it feels like every measure has a different downbeat. This is the section: There are 2 different ways that I could express this downbeat change, consecutive time signatures and accent marks. This is what it would be if I changed the time signature consecutively: And that is just to match the downbeat with beat 1 during the solo. Wow is that a lot of consecutive time signature switching. At least it is gradually adding and subtracting beats to the bar and this excerpt is from the second slow section but still, that's a lot of time signatures in quick succession. And the sixteenths won't beam right in the 5/4 in Musescore. I have run into that issue every time I write in 5/4, that the beaming does not look right. For eighth notes, that's not much of an issue, but it gets much worse with sixteenth note beaming Whereas, if I were to use accent marks, this is where I would put the accents while keeping it in 4/4: Much simpler, since there are no time signature switches. However, would this sound like a downbeat when the full orchestra gets involved? Here is the score with the orchestrational comments and the MP3. What do you think of the piano score itself and my orchestrational comments?

Your welcome. It is the first time I have ever completed a piano score version of an orchestral work. I tried doing the piano score method with my first attempt at a symphony but: 1) I got distracted easily by other composition ideas like String Quartets, Fugues, Solo works, Sonatas, etc. 2) I didn't know as much about orchestration and counterpoint then as I do know 3) I didn't really go into the motivic part of the planning, I only had a narrative to go on And so I never got past the introductory canon of the first movement of that symphony. Maybe I will eventually finish it and my symphony numbers by composition date and finishing date will not match. Or maybe I won't finish it. But I figured that writing a small 10 minute piece for orchestra from a piano score could prepare me for writing a 30-50 minute long symphony, just like how writing a symphony would prepare me for writing a concerto or an opera. Because a symphony is a lot to take on. I mean it is basically like a piano sonata, but taken to the max. Concertos and Operas are even more to take on because you have to consider Orchestra vs Soloist for concertos and Soprano vs Tenor vs Alto vs Bass and Voice vs Orchestra for operas. If I can successfully orchestrate this 10 minute long piano piece, then combining that with my knowledge of how the sonata works, I should be able to write a symphony with few problems. And if I can write a symphony, then I think I can achieve one thing that I have always dreamed of doing ever since I started composing my own works, composing a piano concerto.

Hola colega, esto sí me ha gustado mucho. Es mi gusto personal pero prefiero esto que suena romántico sí pero con riqueza armónica, con tensiones. Tanto arpegio y tanto dominante-tónica lo he oído miles de veces (hablo en general), y algo por en medio es mucho más creativo. Es una pieza muy muy bonita, e interesante. sorry, in English Hi friend, I like this one a lot. It's my personal taste but I prefer this style, romantic but with harmonic richness and tensions. Too many arpeggios and dominant-tonic has been heard thousand times (I speak in general), and putting something in between is much more creative. Very very nice piece, and interesting. Keep writing!!

Trust me when I say if everything was tuned in fourths, it would be WAY harder to finger anything.

I am very romantic in my compositions. I rarely write in any other style. The atonal music I was forced to write I tend to just keep stashed away :).

Gradually trying to work up the keys. This nocturne is again an update like the Eb major one was. Its taking ages. Not sure about the time signatures or ending. No slurs as the software treats the slurs as a pedal sometimes. This piece might be a bit of a mess but don't know. Feedback is greatly appreciated. Thanks very much.

I would say it is important to adjust the accidentals within the music, as some appear beneath the note, often being quite confusing to read. Of course this won't be a problem if the musician is reading the tablature, but still it must be corrected. I do quite like it, but it doesn't feel really that bluesy to me. Is sounds quite pop-ish in is essence, while a blues guitarist soloes over it, which isn't bad at all. Perhaps studying isn't the only route. I find that in the popular culture, listening and playing is often more important. As a fusion guitarist, I often studied improvisation, and blues players would mostly study improvisation only. I mean, at least the ones in the past, maybe not anymore. Also, if you haven't done it yet, please listen to Steve Morse. He is a "virtuoso of the virtuosos", and is quite a great composer. He implements counterpoint into his music quite a lot, while still sounding really like blues/rock'n'roll.