Leaderboard

New organ scores thanks for listening

Hey thanks man, I'm glad you like it! I appreciate you taking the time to listen and give a thorough response. So my original intention with this piece was not to actually write surrounding movements to make it into a symphony. Rather, it was merely to practice writing what could be the middle movement of a symphony. Unlike a lot of composers, I have always written pieces from start to finish, instead of writing individual parts and piecing them together. So the idea was to practice writing a middle/inner movement, so that when I do write a symphony I will have some experience doing so once I reach the middle movements. Plus I had just finished writing some larger works, and needed something a little smaller in scope to take a break 😅 I will say, since I wrote this, I have put this piece together with some of my other pieces I have posted here to form what I call a "Symphonic Suite". It doesn't feel fitting to call it a Symphony since each piece was conceptualized independently of each other, but I think they do work well together. I have listed them below if you are interested: Sinfonietta No. 1 (originally posted as "New Piece for Orchestra", I intend to make a few adjustments this piece, like cutting out the repeat, and changing the ending, then I'll put on my YouTube channel) Scherzo (already on YouTube) Adagio (this piece, also on YouTube) Sinfonietta No. 2 (I recently cleaned the score up a bit, and will be posting it to my YouTube channel soon. But the audio is the same as the original) Alright, shameless plug over 🤣 What has worked best for me is to treat the Euphonium as a "Tenor Tuba". In tutti sections it works well doubling the Tuba, either at the octave or unison. It can also add depth to the trombones or horns when they have the melody. For the Saxophones I think of them as like the Violas of the woodwinds. They add weight and depth to the alto register of the woodwinds. They also blend surprisingly well with every instrument in the woodwinds as well as the strings. Great! I think that's the first anyone told me it makes them think of a vast desert, but I can definitely see that now that you say it. It adds tension and variety. What makes it work is it is placed right before the calm consonant chord at m.111. The listener is introduced to this mysterious, ethereal sound that is quite different from anything else in the piece at m.105. The unusual sound is jarring, and builds up tension up until m.109. Then there's the moment of resolution when the stings enter on the nice Eb chord at m.111. Does that make sense? Great! I'm glad there are others who think about music the same way. Thank you for noticing and checking out my channel! I plan on growing it and posting more on there this year. Thanks again for listening, I'm glad you enjoyed it!

Inclined to agree with Henry. These brief pieces would make accessible studies for beginners. A suggestion for the registration wouldn't be out of place. I presume that your intention was the left and right hand parts are played on the same manual. If you followed Henry's idea, changes of registration both large and small would show off this great instrument far better. You could, for example, assign a reed stop to the right hand, while the left hand is given some quiet 8' + 4' stops. Changing groups of pedal stops using toe pistons depends on the organ itself. Many have pre-set selections (modern ones have electronic ones that can be preset, but even adding or reducing a stop by hand is possible if you give the organist a second or so break in playing a manual. A good start. The last piece would be good for learning pedals - left foot near the end of the pedal board making bars 14 and 15 difficult for a novice. Do you happen to play organ?

Looks like fun. I’m interested to see what I can come up with. I’m in

Henry--- Thank you for the listen! I'm glad you like the theme. I don't want to start off with a handicap. Too much time goes into this stuff! For the B section, it will likely be a complimentary theme in the subdominant or dominant, with ---wait for it---a relative minor section. I will focus this time on truly varied A section return. With a string trio and piano, it really is inexcusable not to mix it up. Yes the Ab was an artifact of using the "transpose" function. I was just to lazy to change it to G#. The markings in both hands are ignorance--1st time scoring a piano. Of course I could have consulted any of a dozen scores lying around...Shame on me. I will look at the doublings. I like using the 3rd (or 5th)--the less strident bass gives it a loser feel that I hope to take advantage of in development. But I will consider your comments closely. Doubling the G--the root---just makes it a bit ponderous here, it seems to me. Of course, my plan is to write a much more refined piano part when the actual composition evolves, but the bass line/chord progression strategy is important. ( BTW: For anyone interested in Piano quartets, I highly recommend Ferdinand Ries' stuff! he was a student and secretary for Beethoven for 3 or 4 years, and a prodigy himself. Fine, fun music. And Raff is exceptional as well. (Beyond Beethoven, Brahms and Mozart...) Thank you again-----------

I think that was the right move and I think the piece works best as a whole and not any one specific movement. I agree. I tried breaking up the constant slowness with faster sections, but especially with the first and fourth movement, I didn’t do enough. I agree. I tried breaking up the constant slowness with faster sections, but especially with the first and fourth movement, I didn’t do enough. Yes lol. I really appreciate your reluctance to impede on my creativity in exactly how things should be orchestrated. I agree and I will definitely consider your suggestions. I do not agree with this one, but I will definitely take advantage more of the instruments different techniques. There is even a spot where I think col legno would work well, but we’ll see what I do. I really appreciate your respect for my intent and vision, thank you. I am very proud of the end, despite the block chords. The part in movement 4 was not something I expected someone to particularly enjoy. I find it interesting that that stood out to you. I’ve been told by a friend that it reminded them alot the seven last words from the cross by max millan, which I find pretty interesting because I only heard that by the time I was on the seventh movement, so movement 7 was definitely inspired by it, yet not the movement that probably sounds the most like it. But yeah, I think it’s very still and I think textures will help with it. What I might do is alternate between the strings and winds with that part. Might sound pretty cool. I personally like reserved percussion, bit I will definitely experiment and explore the percussion section more. I don’t think you were too critical at all, and I would have appreciated any criticism whether I accepted it or not, so definitely don’t be afraid to be critical and harsh with me. Thank you for taking the time to review my music. You have my gratitude. 😊