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Good evening fellow composers! I am very excited to present my latest project, a mockup of Tchaikovsky's "Nutcracker Suite, IIa: Marche"! I've been trying to improve my production skills by making mockups of some major works. The goal is to create as realistic-sounding of a representation of a real orchestra as possible. Please feel free to leave any feedback you may have regarding the quality of the performance. Feel free to put your "conductor hat" on and imagine this is a live orchestra: what would you tell them to improve the performance? Sound libraries Synchron Strings Pro Spitfire Symphonic Strings Synchron Woodwinds Synchron Brass Spitfire Percussion Thanks for listening, I hope you enjoy! If you liked something I did and want me to explain how I did it, feel free to ask. -gmm

This might actually be my best current composition. It is my weirdest piano piece for sure. I built the harmonies and "melodies" from a chromatic superset (3+4+5). I can explain it better if I see interest. It took me around 5 hours to compose this piece and I have to say that it is a true nightmare to learn it and play it without many mistakes. I pray for the people who decide to start learning it hahaha. Some of the jumps are actually scary. The piece has an improvisatory nature like some of my other compositions, but this time it is easier to imagine a horror plot behind it. Also I think there is no official performance version of the work, you can play it very different to the way I played it today. Here you have a performance a friend of mine recorded: I hope you enjoyed it! Let me know if you have any doubt or advice.

I like the piece as is, everything can always be improved (although I prefer to write new things). I really like the contrast of the very "choppy" opening sentence with the following more fluid one. This is a style that is very close to the Galant period. I'm sure you would benefit greatly from knowing and applying some of the "formulas" of the style, call them "schemata" or whatever you like.

Hi Alex, I think you can first have the bowed strings instruments to present the themes first, since now they are all played by the woodwind. Having the strings to play the theme can bring something objective of it for me, before having the harp enters for a more colourful re-interpretation of the theme. If you choose this, the opening can act as a sort of augur and introduction with a quick version of the opening theme used as the main section of the jig? Just wanna note that the opening Bb major-D major harmonic progression is quite similar to what you do in The Boar's Head! Thx for sharing! Henry

Hi @gmm! First of all using this track reminds me of this brainwashing YT ad recently............................ But of course your rendition is much better LoL! I really feel like all the instruments are very balanced even with those pizzicatos being clear. The brasses, despite featuring heavily, do not overpower the whole orchestra. This could just be a real symphonic performance had you not told me this one is a computer rendition! Nice output as always from you and cannot wait longer to hear your original works using this kind of rendition technique! Henry

Hi Aaron, Your venture to different keys in this one and a great job on that. I think the voice leading from b.10 to 11 can improve by changing the B-A-G-F# to G-F#-E-D which will run smoothly to the C# next bar. The tritone in b.15 LH between C# and G is not too nice for me, maybe changing it to B-A-G and b.16 A-G-F# will be better in terms of voice leading and also provides imitation with the RH! I may change the LH in b.17 to E-A-C# since I would like to prevent the double C# in the 2nd beat, since the sound of a double leading tone is not quite nice for me. As Peter said you really improve rapidly, and I think you do take our advice! Thx for sharing! Henry

Hi Aaron, I may extend b.9-12 to an 8 bar structure to balance the first 8 bars to match the style of the piece, but this is subjective. Like Peter has said I like your usage of non-harmonic notes particularly the suspensions, and again you should venture to minor keys or keys other than the dominant D major at the beginning of the B section since you have already ended the first section in D major and this can be slightly monotonous. You can also try adding dynamics now since your harmonic progression is start building and you can take some efforts on other details! I quite like this piece's simplicity, thx for sharing! Henry