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The power to turn inanimate matter into living flesh is handed down through the generations from the Enlightened Ones of the Kingdom of Zeal since before the last Ice Age. The Queen of the Kingdom of Zeal, referred to simply as 'She' is eternal and dwells in her Undersea Palace to this day. It was She who first developed the process through which she could build herself armies of clay soldiers, ready to defend her kingdom. This description of the piece is a homage to Chrono Trigger (of course) although I do plan on someday writing my own RPG. The piece is scored for chamber orchestra with marimba. Sorry about the quality of the non-stereo mp3, its the best I can do for now. I am including a midi instead of a score. Thanks foTheGolemAwakens.midr listening and any comments or suggestions would be greatly appreciated.

A match ensues between a Gladiator and his opponent! There are weapons strewn throughout the arena. It is a fight to the death - if only the odds were in favor of anybody surviving... This is a piece sparingly scored for full orchestra. Once again I apologize for the quality of the non-stereo mp3. Thanks for listening and I would appreciate any comments you might have. Am I posting this in the right forum? It's not exactly incidental music. I wrote the description to this piece after I had already finished it. Since I don't have a score, I'm also including the midi file (thanks to chopin for fixing issues I've had with including the midi file in my posts) 😃AGladiatorEntersTheRing.mid

I'm from the SNES generation so I've ever only hear of Banjo Kazooie. =/ I see what you are saying. When I was writing it I felt that the arrangement needed a pad or drone of sorts underneath and an open 5th in the trombones fulfilled that requirement. Maybe it would sound cool if they just hit the bottom note of each timpani hit like you said but I haven't tried it. That sounds like a good dose of my own advice back at me! LoL. Yeah, I should've changed it up a little the second time but the temptation to just use a repeat was too great and I couldn't resist. I will definitely keep these possibilities more in mind in the future though. Thanks. Another thing I can't resist is canonic imitation at times when I'm not using a heterophonic texture with the melody already. I am on an old Windows XP machine and am using the sound recorder to record a wav file and convert it to mp3. Problem is that my old sound device won't allow stereo recording and the bass isn't very loud. I didn't record through a mic at all - that's just the way it sounds when I record on my device. I am using a Yamaha XG midi wavetable synth for my sounds. Thanks for your comments! They're greatly appreciated. 😃

Hi Guillem. I found Nannerl and Mozart's Notenbuch online which has many minuets in the galant style. The form of the minuets in the book varies from the standard, for example some minuets stay in the same key throughout and some themes are 10 bars long. I can post a link if you want to look for yourself. Most keyboard minuets seem not to have trios except for a few ive found. Its definitely more challenging to compose the trio.

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I think the way you have the guitar hammer on the whole chord at once is very unrealistic of how a guitar would naturally be strummed. It would also be nice if you applied some kind of rhythm guitar pattern to the chords rather than just play slow quarter notes - of course it might start sounding too much like a pop song if you did that (or maybe not .. who knows .. as long as you don't swing your rhythmic pattern it could still be classical). Maybe you could alternate between guitar chords and melodic counterpoint to the oboe melody. Just some suggestions.

This is a tone poem inspired by a work penned by Icelandic poet Jónas Hallgrímsson in 1843. His poem speaks to the frailty of life, the uncertainties that threaten us, and the watchful eye of God. The imagery evoked here is of a lone seagull flying out across the sea under moonlight, who meets his untimely demise in the jaws of a lurking shark. The phrase "Máninn er hátt yfir sæ"—the moon is high over the sea—anchors each stanza of the poem, providing a sense of steadfastness against an otherwise bleak tale. This I chose to be the title of the tone poem, and I hope the proceeding aural onslaught captures the evocative imagery of the source poem. Do let me know your thoughts and feelings about this work. The harmonic language is my own, but I sometimes question whether it suits its purpose in storytelling... Even if you don't feel qualifed to comment on the technicalities of the piece, your insight into the tone poem's emotional depth (or lack thereof) is just as valuable to me. For those with more theoretical savvy, I've also attached the score and would greatly, greatly appreciate feedback regarding that. I've tried to make it as succinct as possible but I know I've overlooked things. Thanks in advance for your thoughtful input!

Messaged you. 🙂

I think the way you could lengthen your ideas is to repeat the whole previous section of music but change small things about it here and there or maybe change the octave in which your material is played (although that's sometimes easier said than done). Or you could also change which instruments play which melodic material you had originally. I know that's kind of a basic suggestion but I always do this in my music and it works for me. Hopefully it's helpful. 😃

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How much did you want to emulate the counterpoint rules of Pachelbel's canon? In mm. 4-5, already your leading tone resolves by leap to the 3rd, etc., etc... This is especially noticeable from your second to last measure to your last measure. Even if you weren't trying to adhere to the rules, some of your notes have lots of close-knit dissonance leaps that don't really resolve in a suspension or retardation format and end up sounding non-fluid. Your chord progression is somewhat weird, since you have a I - V - IV6 - IV which creates this strange little portion of static harmonic movement.