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Hi. I don’t know what feelings you can have about this, but sometimes I feel frustrated to keep my music in my computer, so I’m offering me to record and play the music you have for clarinet, and upload in YouTube, I don’t know, is just an idea, just tell me what do you think. I’m being to upload videos playing my arrangements and I feel really happy, I have time and good will. Check my videos and tell me

Hey guys. Here is a song I wrote and recorded for a challenge in a community I'm in. The task was to write a song that was an interpretation of this image (the one in the video). I performed the guitars and bass, and programmed everything else. I did some sound design on this too. What I ended up with was a progressive metal / post rock kind of sound. Love to know what you guys think! (PS: the production and tuning is a bit rough in some spots and I think I will rerecord this song)

Piano_1.mp3

This is something that started for full orchestra but I wasn’t happy with it. I scaled it back for just 2 violins, 2 violas, 2 cellos and bass and I’m much happier with it now.

Hello! Here is a recent orchestral piece I put together for the Cornell Symphony Orchestra. My main focus was building a structure that kept players and audiences on their toes while utilizing an approachable, fun level of rhythmic complexity. The form is a theme and variations on the concept of pentatonicism, stratified rhythmically, melodically, harmonically, and timbrally. The title comes from a Messiaen quote, as he was describing the basic building blocks of shaping musical expression through time: motion, from non-rest to rest. Douglas_motion from non-rest to rest.pdf

I have two versions of this piece. I decide to upload the latest one. Any feedback is welcome.

It's funny, I would not have figured this out if I don't try it out on the piano. The hardest parts of this movement for are probably bars 43-50 when both hands need to handle multiple voices, and 240-261 the part where I have to redirect the trio II back to the double. In fact there had been a couple of points I deliberately made things a bit easier for myself compared to the initial ideas, like bars 254-261, originally the left hand part has an extra G note on the beat, but that quickly makes the left hand go fatigue so I figured removing a note would solve the problem. However it certainly becomes a bit less intuitive. Or 198-225, originally I wanted every chord to be a 4-to-5 note chord, but that made pedaling a tad too difficult for me. I made the octave glissando the showcase for the second movement though so I won't be back down on that anytime soon lol. Interesting you pointed that out, again with the simplification of difficulty happening here, originally the Fs are alternating between the high note and low note all the way through (like 112-115, low F - note - high F - note - repeat all the way through), but it is too difficult for me to play that way, so I compromised for bars 108-111. basically these are the themes that would remind me of my school years. But I agree, even I myself don't understand much about the full concept of the first movement, it's bizarre in that way school is important though more like I took elements from the chopin scherzi a bit too much haha

Thanks for the shoutout, @PCC! Sorry I haven't been on the forum recently: I've decided to take a break with writing music and focus on some other things. I should be back into it by next month before I start school again. I've just given the piece a quick listen, and I think you've well-established your point: counterpoint can be fun! This piece was so fun to listen to. The scherzo (particularly the first few measures) reminds me a lot of the beginning to Beethoven 9's 2nd movement, while the start of the 2nd Trio reminds me of late-Romanticism in Rachmaninoff (dunno if that's what you were going for tho). I lot of cool fiddly bits around the 1st Trio, too! As if just by listening to it, I've been moved to start composing again. Thanks for the piece!

I really appreciate some of Sorabji's works, and this is definitely a much more tamed Sorabji. I think these types of piano works can really bring out an expression that typical "tonal works" have trouble with. As discussed in the Discord, I think that the actual 4 stave system may be really difficult to read as a performer, although there is a huge "cool factor" when you see the piano score broken up this way. And your sheet music is beautiful! I see you've pushed the limits of MuseScore, which is cool! You definitely have a theme / motif, that you are incorporating in these sketches, and it's hard for me to point this out on text. But if I decide to record parts of this piece, I will point them out on a video review. I think doing an "atonal" work like this might be kind of interesting for my channel. This way Music Jotter is not just "associated" with classical music. But overall, I think this atonal piece is actually a great introductory piece to listen to for those who want to venture into this style. You have the style down quite well in my opinion, and it is fairly well structured from what my ears are telling me at least. There are parts of the recording that need my "nuancing" touches though, because the louder sections are way too mechanical. But I think with my techniques, we can turn those sections into some pretty convincing recordings. PS: I thought I was the only one who knew of Sorabji. Glad to see he has another fan.

Hey guys. I've been a guitarist for the majority of my life but composing for an orchestra is relatively new to me (I've been doing that for 2 years give or take). I wrote this piece a few months ago, and it has strings, woodwinds, piano, and some percussion. I hope you enjoy! I wasn't able to find the audio file so I'll post the Youtube link instead.

This is the score, its little bit laggy because its exported form a midi. From now on i will refer to the sheet music.

That might be the most relatable thing I've seen on the site 🤣 I've listened to the whole sonata a few times now, and it's driving me crazy that I really just can't think of much to actually *say*. Maybe it'll come to me if I just start typing thoughts. First, you get gold stars for actually playing your piece -- in fact, the entire sonata. That's a lot of work! Composing is difficult enough, but performance is a related but decidedly distinct skill set. Bravo! I found this composition really challenging to understand, and it's finally dawned on me as to why that is. It's because there are elements of things in it (particularly in the first movement) that were written very much with your personal life being the key driving force, but it's paired along with writing that's detached from that mindset. There's probably a specific reason for the existence of mss. 17 - 18 in the 1st movement, (and it's later developments and iterations) because it has a somewhat naive quality that stands in stark contrast to the moodiness that surrounds it (almost like a loss of innocence, starting in ms. 23?). It's a jarring juxtaposition that's thrown me for a loop for a while, but now that I understand there's something of a personal meaningfulness to it for you, and there are sections that are derived from it without being connected to those personal things, I'm finally starting to wrap my head around it. I think for me, the highlight of the 1st movement is the daring but tasteful chords at places like mss. 66 - 67. For something practical, I'd say that at mss. 108-115, that second note in the L.H., the low F, just go ahead and move all of them, or at least most of them, an octave up, and the passage will likely look, feel, and sound more organic. That low F is rooting all the bass harmonies, and it sounds kind of "static" as a result, I think more than you intended. The second movement: I love the language here. It actually weirdly reminds me of Chopin's Op. 10 No. 6 Etude, or at least, it has a similar vibe to me. I really like it: the chromatic harshness and the gregorian chant part contrast well! The 3rd movement is really cool. My favorite part is the smoothness of the passages at mss. 107 - 100 and mss. 126 - 135. Thanks for sharing! I really enjoyed listening to all of this 🙂