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Yes, looks like you're right. 14th Aug. It's been changed a few times. I'm used to working to deadlines; will submit to PRS for a timestamp tomorrow! I recalled something about Aug 1st so....ready.

About nuffin n errthang

I couldn't tell u why I do the things I do, I just kinda do em haha. I dont wanna mess up the file but Ill think about it. I don't know what it is haha, thanks. possibly, Ive been listening to adam schoenberg recently

Sounds pretty cool. Though it sounds to me like the piano (or whatever melodic instrument that is) is kind of far back in the mix, while the supporting instruments are more towards the front. I would think you might want it the other way around? But it's up to you. I also like the cool modes you used, is that some octatonic scale I hear? Sounds kind of upbeat for someone who just died yesterday 😉

@gmm No worries, thanks! Crossing my fingers 🙂

I'll have to consider it later down the line as I'm flat broke and starting university studies soon. though not principle in composition. However I hope that it'll increase my harmonic ear as it's pretty bad ATM. I'm considering getting noteperformer for the meanwhile though. I haven't attempted to put my music into a DAW however at any point. I struggle to use regular notation software.

Thanks I glad you enjoyed it! Yeah I think the G7b9 arpeggio I used at the beginning is lifted right out of something by Liszt, but I'm not sure which. DAW - Cubase LE - ~$100, but there's nothing special about Cubase, any DAW will work Piano - "The Grandeur" from Native Instrumets ~$150 I think, but you can find a decent piano cheaper. Personally I think it's overpriced for the sound quality. Reverb - FabFilter Pro-R - a little pricey too, but I like it. Most DAWs have a free Reverb plugin included though. Strings, Woodwinds, Timpani - Spitfire Symphonic Orchestra - VERY expensive, I would suggest something like Garritan Personal Orchestra ($100-150) as an entry level library until you get serious

I really like this! I this a very Liszt like feel to it, especially that last bit where it sounds like it could come from one of his Hungarian Rhapsody's. I love the harmonic lines in the beginning. Which I wish I could have envisioned and used myself! of course I do have my own cadenza to this but yours blows mine out of the water and I will not hesitate to admit that. A quick question, what DAW and sound font do you use? I would love to be able to increase the sounds of my Orchestral compositions preferably without it costing an arm and a leg. any info would be greatly appreciated.

So I might have gotten a little carried away...but here's what I came up with. I took quite a few liberties with your themes, but I used the motives in this theme: And this theme between the piano and first violins: With a small dash of this motive from the basses in the opening. And I came up with something a little...ambitious maybe??? I certainly didn't stay in the classical idiom that's for sure. Hopefully it's not too over the top. I wanted it to require some degree of virtuosity, it is a concerto after all. Maybe it's not as bad as I think, I was a decent pianist back in the day but there's NO WAY I could have played this. I also entered a few measures before and after into my DAW so you could here what in sounds like in context. (FYI I changed the timpani roll on pg. 39 to a G on the bottom line. The rest of the orchestra is playing a G7 chord - I'm not sure if the written C was intentional?) I apologize for the messiness of the first page and a half of the score, I fought with Sibelius quite a bit and it's the best I could do. Please let me know what you think. As always, if you have any questions or want to know how I came up with anything feel free to ask. Or if you want to tell me you hate it that's fine too. @Bradley Scarff this was a good idea, I had a lot of fun doing this! Scarff Cadenza Score.pdfScarff Cadenza Final.mp3

@Noah Brode Shoot, I wish had reviewed it sooner 😕 . Good luck, let us know how it goes!

I thought it sounded ok. I'm no counterpoint expert, but to me it sounded like he used secondary dominants. For example, on the last beat of m.4 the E natural creates a secondary dominant (C7) to lead to the F on the downbeat of m. 5. On the last beat of m. 5 it's less apparent, and a little more awkward to my ears, but I think it still works if you think of the first two sixteenth notes (Eb and G) in the left hand as "ornamentations" before the F on the third sixtenth note. And again, the B natural in the third beat of m.6 is part of a secondary dominant to lead to the Cm on beat 4. Like I said, I'm no counterpoint expert, but the first rule I always go to is "If it sounds good, do it." By the way, good work OP, and welcome to the forum. Sounds like you're into the Baroque sound, so I expect many 5 part fugues in the future 😉 .

https://youtu.be/QKtHsGldHWU This tune written by a former teacher if mine (he is the piano player) is based off of this scale. https://youtu.be/zhVgbZdMdb0 the second tune in this video, (friendzone by thundercat), is another tune I've heard based off of this scale Both of these tunes arpeggiate the scale in thirds by continuously stacking a a pattern of a major third and then a minor third taking you up and down the circle of fifths

Instead of trying to work on harmonic patterns, why don't you really work on a motive with other directions, such more melodic (more than it's included in the harmonic direction)? You can also try to include "surprises" or innovate in different ways. Other than that, you just need to go out, listen the people you like/admire, being played or improvising, etc... Sometimes even changing music and listen simple music can bring you new ideas.