Leaderboard

Hey man First off, I like this. The music is quite beautiful, and your orchestration is lush and cinematic. This could easily fill the background for some movie. The score is clean and professional looking (to me, a noob), and you give a lot of care to the engraving. A lot of people sifting through submissions of scores will not even take the time to even look at what key a piece is in if it looks like stock music notation software. It seems like you've done all you can for that, so kudos. Do you know Muse? The first movement reminds me of Exogenesis, a three part symphonic type of work they did some years back. Check it out if you haven't, it's pretty cool. The second movement kind of had Yiruma vibes to it, maybe some anime-type inspiration? Regardless, I think you have a talent for bringing out color in your writing. Just know, sometimes color is lost when lots of instruments are playing all the time. For instance, the breathiness of a flute can be hard to hear without subtle orchestration (or lack thereof). Not saying you did that per se, but there seemed to be a lot going on for most of the piece, and interesting color and variety can be found with extended sections of just winds, or just strings, etc. Just something to experiment with in future music. Like I said, this to me was cinematic, like it belonged in a movie or video game. Is that what you were going for? I only ask because the themes and motifs you used were more suited for the background. After a while, the themes got a bit stale to me. Sure, it's in 11/8 which is cool, but lengthening or shortening the 3 dotted quarters and quarter would be cool sometimes. Or breaking up that rhythm. Or giving that rhythm to a different section of the orchestra while new melodies soar over it. You get the idea. The lushness and overall texture was the highlight, but also think about the listener. When should there be a break? How long to make big tutti sections? How many themes do I have, and when/how should I repeat them, or change them, or whatever else? Think of something as simple as a song. Verse, prechorus, chorus, bridge, intro/outro. How many choruses or verses? Does it need a bridge? You mentioned how to lengthen or make changes to voices, and a lot of times just having a simple blueprint of your form does wonders for that issue. It doesn't have to be classical in form, it can be your own, but when writing for orchestra it really helps. I never pursued the path of getting music performed by ensembles... I'm just a simple guitarist, so I can't really help with what some concertmaster or whatever needs from you. But objectively, these are some ideas I had while listening with your question in mind. Good luck to you, and keep us updated on a possible performance. If you do get it performed, do everything in your power to get a recording, because it may never happen again. Cool music, cool pfp, and thanks for sharing

I like it as it is, sometimes, when we try to lengthen the works without sense they become boring. I thought that a piece with a heterophonic organization all the time could also get tiring, but the truth is that this is not the case.

BEFORE you click away... hear me out. 😅 I know what seems like the same piece was posted, not so long ago. Well... This is no longer the same piece. As mentioned, an orchestra group in my area may be playing this. They suggested I make some changes to the length and voicings throughout the composition. This is the version where I have done so. Although, the ending is quite bland... I'm not too sure what to do there, for some reason, but nonetheless, it is technically a completed piece. If Anyone has some suggestions to that regard, I'm all ears, but the rest of this composition is otherwise completed! Let me know what y'all think 🙂 See the MuseScore Post, Here. Long Arctic Night (Suite).pdf Long Arctic Night (Suite).mp3

Hello people! I'm working on my next giant variations project. But, in the meantime Mike (@chopin) asked me to write an Arpeggio Etude for him for his upcoming Music Jotter Arpeggio feature exhibit. "Music Jotter just implemented arpeggios (for chords, or arpeggiated chords), and the video will explain the difference between an arpeggiated chord and non-chord arpeggios." The piece is short as I wrote it all completely in my small musical notepad that I carry around in my pocket everywhere I go. Let me know what you think if you have any suggestions, constructive comments or critiques! And thanks for listening. Edit: I'm including a 2nd rendition of the piece that Mike made for me using Music Jotter and 8DIO Steinway Grand 1969 sound samples. Thanks Mike! Edit no.2: Also, check out what I have to say about how I created this piece in Why I Compose Music on Paper. Arpeggio Etude.mid

I echo this. It's very cool, it makes me think of rain for some reason though. 😄 However, like most piano music, I think a pianist would be able to bring out a lot of expression, moreso than the watery midi. The language is cool too, you always have a way of blending complexity in your voice with a tonality that's easy to digest. Well done buddy

I also liked it very much. I think it has quite a lot of harmonic richness and the central part, being less somber, is well connected with the rest.by the left hand pattern and some melodic gestures. The modulation is somewhat original (Cm -- B), and it is reached in a peculiar way (by voice leading or, as one would say now, following some neo-Riemannian patterns). In measure 30, the first note in the bass should already be an A#, perhaps

Christmas adagio movement for string quartet and organ ad libitum. It was originally meant as a middle movement of a Christmas fantasia, but I never wrote the other movements and I don't think I'll ever do it, so now I post this piece as a stand-alone piece. In this work I employed melodies and motifs from two polish christmas carols - Jezus malusieńki (violin 1 & 2) and Mizerna cicha (viola). Hopefully the piece will be performed this Christmas

I really enjoyed the beautiful somber fluidity of the opening and closing material. However, from my perspective as a listener - I felt the key change at measure 32 created a very different mood. For me ... it was not congruent with the initial solemnity presented and/or not - didn't contrast enough to provide a juxtaposition/drama. Mark