Leaderboard

The idea is there, but it's still a work in progress. Now I can finally start focusing on the 4th mvt! I had the idea of making it scherzo-like, but I couldn't get away from the 6/8 feel. Still ABA form like a normal scherzo would be. Oh yea, I know the ending is reminiscent to Pines of Rome. That's why I put ricorda i pini next to the Adagio marking! It means "remember the pines." AUDIO : https://drive.google.com/file/d/1v9ARsboO2ZNuaOaPyeXtRcKTFE21G9wf/view?usp=sharing

A tune I wrote for Orchestra (mainly winds and strings) the other day. More classically-oriented than my usual stuff. Let me know what you guys think. Vielen Dank im Voraus

Even though I sent mine, I am entering.

I'm always on the lookout for new stuff like this, I'm glad I was tagged so I saw this thread. After learning about him, I am definitely interested in trying to learn something of his. Recommendations? I don't really know what pieces of his are worthwhile.

Thank you for listening, and you have great taste in music if HahaHouse is your favorite. It is also my dad's and he has prodigious taste 🙂

Hi @SoloYH, I have listened to the remaining mixing pieces. I am not good at mixing at all but they are cool! I had once named my first String Quartet as "My Monologue" but later just called it 1st String Quartet since the quality of that piece is bad! That "house" is really creepy! These two will be good music for clubs! I personally like the Hahahouse most! Thanks for sharing. Henry

Reverb, primarily. If you send it into a reverb with more wet signal, it will sound more distant; closer with more dry signal. There is also that things which are more distant gradually lose high-end frequencies, but most good reverb units account for that too.

Thanks Henry! I was pretty shocked myself at how well the two themes work together. I just had a hunch they would, but when played them at the same time on the keyboard I knew I had to do this.

Wow @WowBroThatWasReallyEdgy, I have nothing to say except enjoying this very much! For me it's quite Beethovanian with the scherzo rhythm. I think with the quick triple time it is qualified as a Scherzo! Personally I just want the Adagio ending to end as with the original tempo! Even there is a brake before the terminal I still would like to end the movement in a fast tempo, possibly in Presto since this for me will bring the movement to an energetic ending. Thanks so much for your sharing! Henry

Thanks for the feedback! The basic concept I had, is the music starts off at the train station as departure time arrives. The train starts moving slowly through the city, picking up speed as it goes. As soon as the train makes its way into the country (2:12), it hits fool speed ahead, before making it's next stop at a small village station. The focus then shifts (4:00) to people at the station arriving for the train into town. Then the train begins (6:00) to make it's way back on the journey, racing through the countryside. I do like that people can hear different things in it though... it's better than hearing nothing!

Hi Chris, I find this really creative! I always find that freaking bassoon theme utterly ominous and it fits well with the Luigi Mansion theme! They combine together to create an even more ominous and creepy feeling! I especially like the simultaneous appearence of the two themes after 0:50 and that's skillful arrangement for a good counterpoint! I don't why but it reminds me Beethoven's Eroica Variations, with the Luigi Masion theme as the bassline and the Grieg theme the melodic theme and the themes combine really well and at the same time have their own voice! Very good job here and thanks for sharing! Henry

Wow, I don't even really know what to say to this. You're so good, and as @Luis Hernández said, this is an explosion of color. I'm amazed how I was interested all the way through, as there wasn't a single thing that I could latch on to to make it so. Yet much like your "Sun" piece (something like that, you probably know what I'm referring to 😄), I was mesmerized by the sheer range of color that you used. It reminds me of why Howard Stern was so popular, everyone wanted to know what he would say next. The same goes for this piece...even though I had no idea what to expect, I was lambasted with a plethora of color and variation in the orchestration I'm not usually accustomed to. The higher register of the tuba, the low register of the bass clarinet, etc. etc. Wonderful work here. I'm curious, though. You make it seem like this was just an older idea brought to life. But I'd love if there was some theme attached as part of a larger work. You're truly a master of the orchestra, and I can't wait for more. Outstanding! My only regret is that I don't get to hear more from you!

Hi @Quinn, Your usage of orchestral colour is really amazing. I like the Eb clarinet, and this is actually the first time I've listened to the sound of a double bass clarinet. I guess that's the reason why a contrabassoon is not required here! I still maintain that this piece is pointilistic even you say that you have never thought of Webern in the last post. Very effective and varied use of orchestral colours by allowing all the instruments to have their solo in short passages. That creates contrast but with the short lapse of time create surprise as well! I love all those harp passages, the fanfare like brass passages as Peter mentioned, all those E flat clarinet and contrabass clarinet passages. I also love the chalumeau passage of the Bb clarinet. Quite sad the glissando isn't produced in the recording, since it fits so well in this piece! It's a nearly 6 minute piece but I feel like the time flees so quickly with all those varied colours, and your pace is great in this piece since every passages is eventful. Thanks for your sharing!! Henry

Nice! I like it - I love the intriguing impression I get with all the strings doing a glissando together. I assume that this score is all in concert pitch? That creates some problems in the Bass Clarinet part - namely, all clarinets are used to reading parts in treble clef. The Bb Bass Clarinet would just play the same range as the Bb Soprano Clarinet but an octave lower. I keep getting the impression that you're John Williams writing in a slightly more modern style. Your writing for the trombones and trumpets can be quite fanfare-like! That's quite percussive and hence idiomatic. The strings, harp and woodwinds sometimes create these kinds of concerted flourishes which are quite cool! The duration of the piece goes by very quickly and is jam packed with material! I love your indication at the end of the score: "Time to wake up! Look lively." Haha Thanks for sharing!

I love it! An explosion of colors and textures, and expressive.