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This is a piece I finished last year but have been tweaking a bit since then. The idea was to write a prog-rock piece in the form of a Classical symphony - the first movement a sonata-allegro with slow introduction, second movement is a loose set of variations, third movement is a scherzo, and finale is a modified sonata form. It's all done with synthesized/sampled instruments, which obviously don't sound as good as the real thing, but I'm not altogether unhappy with the way it turned out. I provide a score transcription as well, even though the piece wasn't really written with real players in mind, so some stuff is undoubtedly difficult or unidiomatic. Anyway, any comments or criticisms would be greatly appreciated! Thanks.

Thank you very much for your comment, I'm glad you like it. i like the saxophone, an arrangement for it could be nice. i will try later

I followed the dice video and it sheds a different slant on using dice. The bias is tonal and he came up with some good ideas. I've been using a die to create tunes and fragments. Although I have a 12-sided die; can assign a chromatic note to each number I firstly used a 13-sided die. If I threw 13, that would be 'end of sequence. I eventually went to a 15-sided one so there was a greater chance of ending a sequence. The problem was with 12-sides, repetitions of notes gradually came into it - something I wanted to avoid so shorter sequences reduced that. It was surprising how often a sequence turned up something tonal/diatonic. Like, I got Bb Db F, a Bb minor triad. Another: E G D C# (rootless dominant 7th of D with a passing note). But I don't cheat either and started a composition with what turned up. Not that I'd entertain Schonberg's strict doctrine but just the thematic stuff is enough.. Altogether interesting. .

Hi Mustafa, As you know it can be difficult to give a general opinion on how someone would translate a visual object into music as it involves lots of components and the initial approach can lead to radically different results. From what I analysed of your piece, your goal seems to translate the atmosphere of the painting, you wrote a Nocturne titled "Lonely night" and the painting itself show a nightlife scene with a sparse bar counter. What I can say is that your part A (bars 1-17) contains a Theme with lots of syncopations wich is, for me, a strengh into your piece. It gives to your melody a quality of uncertainty that can refer to some extent (each person will construe it in his own manner) to the nocturnal element of the painting or even the wandering of our thoughts when we precisely are lonely at night and even the sentiment of loneliness itself. You superimpose a 3 beat feeling in the right hand to a 2 beat one in the left hand wich also gives this sensation of slight agitation, of a struggle of some kind. Your melody rises toward the high register adding more tension and dissonances between right and left hand are being heard. These elements give certainly a very good musical flavour to your piece. I would add that from b.26 to b.40 these elements disappear. Of course, as a part B you chose to create a contrast but, you see where I am heading, we tend to lose a little bit of the complexity of the beginning, of the atmosphere that you installed earlier. The music becomes more consonnant and rythmically ordered. I hope that my message has been helpful ☔

beautiful. almost made me cry. almost. rescued at end. many thanks.

Wow, Mercury! I hear the transliteration quite well; next step, bringing the choir to reality away from simulation! I recommend Jessica then, Dismukes, at Marshall County High School!

I LOVE the Romanian influence in the nocturne. So calming, and lends itself well to saxophone, too.

Thank you! I am not really trained in it either but I like writing for orchestra the most because of all the options for color. When I wrote this piece two years ago, I don’t know that Japan was really an inspiration... I think I name all my pieces at the end based on a vibe I get from the music I just wrote (most of the time), but I know I wanted to write a bunch of cool pianistic arpeggios based around a cool chord progression. That being said, I TOTALLY get Japanese music vibes from this orchestrated version. There have been a few pieces by Japanese composers I have played where I can hear the similarities, and it probably rubbed off on me because one of them is a favorite of mine (Jalan-jalan Vision Isle of the Gods). Thanks for listening 🙂