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This is one of two demos I recently made for a prospective video game company. They wanted Japanese anime-styled music for their game set in a hot-spring/onsen. The game is supposed to have romantic undertones. I made this one in Musescore 4 with Musesounds flute, glockenspiel, vibraphone and string quartet (also with woodblocks and tambourine). I imported it into reaper and put a hi-pass and lo-pass filter on everything. I'd appreciate any of your suggestions, comments or critiques! Thanks for listening.

Oh this is a topic of gem! I have not noticed film music much since I don't like film music at all. However I freakingly like this one in Kieslowski's "Three Colours: White": The music is so philosophical and ....great!!!! It uses tango to signify the "battle" relationship between the main character and his wife concerning "equality", which also signifies the political relationship of France, or Western richer European countries, and Poland, less rich European countries. Very enjoyable music as well! Other soundtracks by Preisner in the other two "Three Colours" is great as well. But this is my favourite one. I seldom admire a film music track as if it's a classical one but this one can! P.S. Looks like I am ignoring the trend in this thread too!!! Henry

Hey Peter, the poem was meant to bring more elements to the experience as a whole. In which, I hope you found it "interesting"(kinda old but i'll quote twoset) as well. Counterintuitively, I actually wrote the music first and tried to find a poem to fit in with it. Low Cello and High bass is definitely tricky, but i think they make a great unison. Thank you for your kind reply once again. More stuff is soon to come.

A quaint little piece! The poem is nice too - is it supposed to be just an inspiration for the music or could it be recited at the same time as the music? I think you have some great textures in this piece - I love it when you momentarily give the melody to the cellos - that's a great touch! Thanks for sharing! Edit: Upon a closer look at the score, I see that those were the contrabasses in their higher register rather than the cellos playing the melody LoL.

Hello @gmm, I choose to review this because as a lazy but paid moderator I want to review a shorter work, haha!!! I think it's very accessible and very catchy, as this reminds me the Scherzo of Mendelssohn's with the vivacity and energy in it! You for sure having a Brahmsian and Schoenbergian conception of the use of motive well expressed in Rudolph Reti's The Thematic Process in Music when the motive of a third interval (favoured by Brahms) is used to cohere the themes. I love your fugal usage in a Scherzo setting as it's used in many previous works and I think here's it quite successful except (in my subjective perspective) sometimes after the initial presentation of the subject there's only one line of presenting subject without accompaniment which may reduce the excitement level, e.g. b.43, b.59, where I would love to have at least some accompaniment for the subject to prevent the dry sound. I agree with Peter that the coda feels unfinished, but I think it's due to the lack of excitement level for the climactic ending since the texture here is too uniform and I think having polyrhythm and an ff ending will push the ending more!!! You may also consider cutting some of the restatement passages to enable expansion of the coda but that's subjective. I freakingly love C# minor and the opening section is definitely my favourite. My least favourite is the waltz section, however. The waltz itself is really beautifully done, but for me it's too contrasting to be in this movement! I really want it to be shorter instead of having a third of time of the movement for it! If not for the time limit, I think having an A-B-A-B-A structure with a short B section even more perfect for this movement, as in the Scherzo of Beethoven's Fourth and Seventh! I also want that C# minor back instead of D minor for the restatement!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!💓💓💓🔥🔥🔥 (Apology for my C# minor Syndrome) Perfect, and the counterpoint well suited to a Scherzo: neither too learned nor too sparse! Your use of wind instruments once again remind of Mendelssohn! As stated I would like to have an A-B-A-B-A structure with a short B section instead of an A-B-A with a long B section. I don't particularly like that waltz in this particular movement but it will be great everywhere else! Mendelssohn, Beethoven for their sparks and energy! I love your subtle usage of motives even for a Scherzo movement where the coherence is sometimes not requited to be too strict but really I use some of your techniques as well so I feel resonated with it!!! The saturation of motive is great here to provide the power and energy as well as coherence and linkage. The contrasting passages are very recognizable and funny. Your orchestration and scoring is not something I have the ability to critique on since it's perfect for me!! Very wonderful job and thanks for sharing!! I promise I will continue reviewing your longer Sinfonietta! I hope I can be gmm fanboi no.2 though after Vince, haha! Henry

Crikey! Thank you all for listening and these comments. You have been very kind to me with your comments. I had misgivings that it wouldn't work well but now feel slightly assured, ready to go ahead and prepare a final score with all the transpositions in. Many thanks indeed, Luis. Thank you indeed for listening and your comments. Yes, the score is at concert pitch except as mentioned just above the Tempo mark, first page above the piccolo staff. After a final clean up I'll transpose the parts properly. The Contrabass Clarinet is written an octave higher than concert. I hope I didn't seem selfish by not writing these parts (and the rest) conventionally transposed as this is a kind of penultimate draft and easier for me to check. The last thing I want is errors that should never be there, like leaving in keyswitch notes...well, it's happened. I have to feel assured that I know the score very well as...well, remote as it might be, should it ever be offered a chance of performance I don't want to be caught out. Flattered as I am by your mention of John Williams, I'm really not familiar with his work except through the Indiana Jones films which I've just checked he scored. Be nice to have his money though! I'll have to give that one more thought. Hah, I forgot I left that exhortation in at the end of the score. I'll pop into the software after replying here to erase it. Once more, many thanks, much valued. Henry, many thanks for your considerations and listening. Yes, I prefer the contrabass clarinet as I sometimes write very deep and quiet bass wind parts but there's no way a contrabassoon can play its lowest notes quietly, starting from and fading out to a 'niente'. The contrabass clarinet can more or less. Just a guess but if my exploitation of colour is noted it's probably because I value instruments in their own right with their range of timbres, each called in when the occasion seems right! The contrabass clarinet is a case in point. There were times in this piece when its solo line seemed right-on - an indescribable sound! As for Webern I see what you mean and in terms of orchestration I suppose, yes, pointillist rather than like the organist, playing whole passages with a fixed set of stops. If you need just a dot of a certain colour then bring in the instrument just for one or two notes. . Really appreciate your comments. Thank you for listening. . Thank you indeed, Thatguy. You've been most generous with your remarks. What can I say in the way of appreciation? - A bit lost for words. However, it's pleasing to know that it made some sort of sense to you. I had some trouble composing it, wanting to move on from previous work which was starting to get repetitive. It's going to be harder to move on from this one. It is the most recent orchestral piece. I just call them all Music for Orchestra now but I've written several over a few years and still have to decide which to keep. I still have a heck of a lot to learn about the orchestra, balance, timbres, articulations and so on, and what I can do with the samples at my disposal. So, thanks again for listening and your most encouraging comments. All the best, Quinn.

About time I upload something. Here's a little romanticism for you. Hope you all enjoy, and as always, any sort of comments are welcome. I'd especially like to hear your thoughts on enharmonics. Special thanks to PeterthePapercomPoser for your advice with this one.