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Getting back into composition from a long hiatus, I decided to orchestrate a piano piece by Claude Debussy. The piece is a movement from his piano suite Estampes titled La Soireé dans Granade (Evening in Granada). I'm still not too familiar with Debussy's piano music as a whole, but this suite definitely piqued my interest in that genre. I wasn't aware at the time, but several high profiled figures have orchestrated this movement (and other movements of the suite), and I did avoid listening to them so I don't copy them. Link to the original piano composition: The audio quality is a little meh...this is the last piece I wrote before I switched out of Finale/Garritan to Dorico/NotePerformer. Any feedback is appreciated!

Thought I'd join in as well!

@Henry Ng Tsz Kiu and I brainstormed a little bit about what I could write next to give me a small diversion from my giant variations project. We decided that I could write another microtonal piece. I have written microtonal inventions before, so now I tried my hand at a microtonal fugue. It's a 4-voice fugue for string quartet and I tried to very scarcely use the microtones, only opting for occasional microtonal passing tones and sub-minor 3rds here and there. Nonethless, I think the piece retains a different microtonal flavor to it, but let me know what you think! I'd appreciate any observations, suggestions, critiques or comments! Thanks for listening!

Hello Here is another piece of the cycle "a la lune" according to Jules Laforgue. I didn't count. I must be at 4 or 5 on the same theme. Here is a kind of little song that looks like a waltz. Sweet bitter, of course, since it is lost love... Translation in the video in subtitles. Thank you for your criticism!

Hey Nicholas, I like your piece a lot! It sounds epic, and you take your time with each theme, which makes it sound coherent and easy to listen to. I don't have any experience writing for large ensembles, so I thought I'd only give feedback on your brass writing (I play the trumpet myself). First of all, in bar 21 consider raising the second trumpet an octave. That will make it easier for the first trumpet to hit his note: it is easier to play when being 'carried' by the rest of the section - and that two-octave gap is to large to give that effect. (As written it will sound like a solo instead of team work.) My teacher used to say: 'Trumpet players are surfers. We surf on sound.' At certain points in the score you write divisi for the trumpets, horns and first trombone - but you assigned three players to each part (in the preface)!! Which of the two voices should get two players? Either split up in three parts or make a note in their score, telling them what to do. But also consider that your brass section is humongous (A dozen players on trumpet and horn): You can change the parts to avoid all divisi. E.g. after bar 102 you could give the trumpets the root and fifth and the horns the root and third. In Musescore this will sound just the same, but when played by a real orchestra all voicings sound distinctly different. Not having divisi also is less confusing - especially if your players don't get (many) rehearsals. Btw that 1.5 octave jump in bar 106, first trumpet, looks really scary... Lastly, from that same bar 106 your trumpets and horns are playing fortissimo - which basically means 'as loud as possible'. Therefore the four (!) crescendo's you write later in the part won't have any effect... Either tell them to take back before each crescendo, or don't write them at all. That'll conclude my oddly-specific-feedback : ) . I should tell you again - I'm no pro at all, and your writing already is really good. Don't take this as harsh criticism: I'm just better at pointing out imperfections than giving elaborate compliments :)). I really enjoyed listening to your piece! Kind regards, Marius

Interesting. Your version sounds great. Although for me, that Gb “desperately calls” for an F#, which is part of the dominant chord. Best regards.

This is the second movement of my Violin Sonata in B flat major, commissioned by and dedicated to Arjuna Clark @expert21. It's a slow movement marked "A scene by a stream", as suggested by my dedicatee Arjuna. I chase for simplcity here and I really wanna let the violin sing here, and I think I succeed. I freaking love the opening melody! The use of ARJUNA motive is more sparing as I have to give it away to the beautiful main melody! The melody was inspired when I was having a walk through the beautiful scene of Golden Trumpet Tree! The audio is again made by @Thatguy v2.0! Here is the pdf and YT video of the movement: Violin Sonata in B-flat major 2nd mov.pdf This movement is simple, only in ternary form. Here is the structure of the movement: 0:00 1st Part. The melody is quite beautiful for me, even though it sounds like the main melody in Chopin's Grande Polonaise Brillante, and in the same key, which I realized only after finishing this much later. The piano accompaniment represents the stream. In 1:02 Piano takes turn to play the main melody and violin the countermelody. 1:57 2nd part. I reached my usual contemplative mood in the middle section. Then I was awoken by the hummings of Asian Koel in 2:19. That bird is very common in HK which many people find their hummings disturbing but I actually love. 3:43 3rd Part. First begins a false recapitulation in wrong key G-flat major, then a real recap in tonic key in 4:21, with the main melody gets along with the Asian Koel motive. I personally really love the climax in 5:00! 5:13 Coda. A little coda reminds me the coda of Chopin's Nocturne in E flat major, op.9 no.2. Here is the 1st movement's post on YC: P.S. Here is the sound of Asian Koel: And here are some pictures I have taken that day: Hope you enjoy and feel free to comment! Henry

So a few things: Firstly, this isn't really very similar to the style of John Williams at all. But of course, John Williams is an absolute master; he'd already been composing 40 years before his first film score. Writing a piece in his style is no small feat. As for your mix issues, I'm not really hearing a problem with the overall levels on my end atm, but there are definite balance issues. Some of these are due to musescore/musesounds which right now are notoriously unbalanced and have limited ways of fixing that, but some can't be. What you could do is put the tracks in logic and automate volume to help them out and send them in to a new reverb. However, some of the other issues are related to orchestration and sample limitations. For example, you have, as a lot of modern composers do, all these big block chords with a melody over them. Bar 20 is a good example. Firstly, you have the trombones and celesta eating up a ton of the frequency spectrum by playing these huge chords, but then you ALSO have the trumpets coming in three-part harmony AND a String Melody in three octaves with the cellos taking the lowest octave. And everything there is playing mezzo piano. That's a recipe for mud, even in a live context I'm afraid. Then, in bar 22 onward, you still have trombone footballs, but now they are accompanied by absolutely massive harp chords. While that is happening, you have different things happening between bassoons + horns, violins, etc. Another issue is that the bass is entirely footballs in the piece, which does not give it any breathing room and becomes rather exhausting to the ear. "Melody + Chords" style Chord pads that have become popular in film music are actually generally considered bad practice not only because they're boring to play, but because the strings, low brass, and choir are basically the only ones good at playing them and these are large ensembles that take up tons of room in the frequency spectrum and stereo field. So you see beginners give this big, five-voice string harmony with a lonely oboe melody on top and then wonder why it's so hard to make the melody stand out even if the strings are at Piano. It's because the oboe is totally surrounded and your ear will focus on whatever line is thickest (the chords). If try to thicken the woodwind line, you're now competing for space with the strings. However, unlike samples, live orchestras have almost infinite dynamic range, and not only that, but they can stay at one dynamic range and still have a lot of modulation in the sound, which is something samples can't do. So chord pads with samples tend to just sound bad. With these pads mocked up with samples, you're always going to fighting the fact that your chords seem like they just can't play quietly enough, and if they can, the timbre is bad because you can't modulate the sound without screwing up the dynamics. TL;DR: You can fix some issues by loading it into a DAW, but the main problem is the writing/orchestration and samples suck at chord pads.

I guess the point is not that there shouldn't be repeats, but that they should still serve to move the narrative forward. Da capo aria? The first time the performer introduces the material, the second time they are encouraged to make it their own with ornaments or other small changes. But for this exercise, the structure of what you were doing with tritones and scales is firm enough that there isn't much room for experimentation or nuance when it's played through again. Welcome to the forums! And I disagree! If you're alive, you are getting exposed to new musical ideas and influences which are sure to keep you growing. Cheers.

Well, I meant I like YOUR compositions, but I like OP too! Anything Classical and minimalistic. with craft that is not so obvious!

Hi! This Violin Sonata is commissioned by and dedicated to my friend Arjuna Clark @expert21. He had asked me long ago to write a Violin Sonata for him, but I only managed to start the work after finishing my own String Sextet and 3rd Piano Sonata. Luckily this one is completed before his birthday this year for a timely birthday present. As always, thank to @Thatguy v2.0 for making the audio. The whole work's tonic key B flat major, key scheme and styles of the movements are chosen by Arjuna himself. The work also featured the "ARJUNA" motive in all the movements, suggested by Arjuna himself: A=A, R=Re=C, J=G, U=Une=Bb, N=rest, A=A. The style here in this movement is a waltz style which I have never tried before but I know Arjuna loves it. I have toned down the playing difficulty for both the violinists and pianists, as I wish I can play with Arjuna with a live recording later. What I want to achieve in this Violin Sonata is simplicity and beautiful violin singing, since I didn't give much chance for the strings to sing in the String Sextet I just completed then, and my music is usually too complex. I hope I can write something simpler and lovely. The thumbnail is an ugly self-made birthday card I made to Arjuna LoL! Forgive my bad artwork haha. Here is the score and YT link for the music: Violin Sonata in B-flat major 1st mov.pdf Here is the timestamp for the video: 0:00 Dedication 0:06 Exposition, First Subject. Introduces the ARJUNA motive. 0:24 starts the transition with inversion of ARJUNA motive in piano, sounds a lot like Beethoven's op.110 Sonata. Modulate unexpectedly to D major in 2nd subject. 0:56 Exposition, Second Subject. Uses mainly the inversion of ARJUNA motive in D major. Ends with some pentatonicism as inspired by my own Sextet, just finish days ago before writing this one. 1:58 Exposition Repeat. A rare thing for me to repeat expositions but I find it adequate doing so here. 3:47 Development. Prime and Retrograde of ARJUNA motive in G minor first, then develop on the 2nd subject through G minor, B flat minor and to E major. Force a beautiful C sharp minor climax in 4:32, since it's my favourite key. Return to tonic key through major 3rd relationship. 4:58 Recapitulation, First Subject. Have the recap sneaks in in a Brahmsian fashion (again!). 5:16 starts the transition, this time includes a quotation from my own String Sextet in 5:33 in G flat major to fit the key scheme. 5:43 Recapitulation, Second Subject. Normal recap in tonic key, nothing changed. 6:37 Coda. Restatement of ARJUNA motive in its prime form, nothing complex here. Here's the 2nd movement of the same Sonata: Hope you enjoy! Henry

Hello @NicholasG! I think @Marius_ already got many good points and I'm not going to repeat what s/he said. You should be proud of it. Your orchestration and mood portrayal is very mature as a 16 year old and I like many of them. Your motivic usage is lovely too. I really like the ending starting from b.93, good preparation to it and nice rhythmic variety. Maybe for me you can also add more varieties in the harmony as well, since most of the passages are more diatonic and less modulatory and dissonance. Thx for sharing! Henry

Hi @Chemathmusician0510, I agree with @danishali903, the piano shouldn’t just repeat what the strings are playing, but instead have its own part. I wouldn’t go as far as calling the music basic since I think it does display some good chamber music part writing and counterpoint, but I may add more interaction between the instruments and allow other instruments to play the melodic role as well. The piece sounds quite Baroque for me even with those dissonance, because of the drive of the outer sections and the Trio sonata slow movement like middle section. Thx for sharing! Henry

Firstly, I think the audio rendering doesn't do this piece justice. Everything sounds too muddy, and I can barely hear the 2nd violin and viola parts coming through. As to the String Quartet vs Piano Quintet, I don't see the value of having a piano added since it seems to be doubling what's going on in the strings. Leaving this as a string quartet piece would be more logical. Your string writing isn't bad...but it's very "basic". Each instrument/part seems to have a pre-defined range, and the music rarely goes in and out of that range. Maybe throw the melody to the cellist in its higher ranges, or have the viola play something other than this accompaniment role: I also think the transition to the trio section (somewhere around bars 80-82) can be a little more developed, as the trio (bar 83) is VERY different from what came before....just a bit jarring. It might work better, and be a little more interesting, to have that section in a major key. Otherwise, a bit more counterpoint material can help as well. It just sounds very homophonic at the moment. Last comment: The outer sections could use dynamic and phrasing marks.

I am also working on a set of variations and mash-ups on themes not written by me (from a famous videogame). I am using so many themes at once that I am also feeling unmotivated lately to work on it. It seems like one of those never-ending snowballing out of control projects. I hope that I'll finish at least one part of it. I think because of my ginormous orchestral project, the next thing I'll want to write is a piece for 1 monophonic solo instrument accompanied by 1 polyphonic instrument (like the Dreamscapes contest rules). It would be a nice change of pace. And if I manage to write something "dreamy" then it will be all the more interesting. Besides that I was thinking of writing my own variations of more of the themes from the "Bits to Bangers" competition, since I already did the "Harvest Moon" Piano Quintet. I think I majorly prefer working on previously written video game themes, and if not that, then I prefer for my own music to retain a VGM style or media purpose to it somehow.

Am working on an Orchestral Variation on @PeterthePapercomPoser's themes. That's going to be my first orchestral piece and also first variation piece. One third of it has been finished but recently just sort oflosing the motivation a bit. I wanna write 2 serial piano pieces, and my life time goal would be to write a Choral Symphony using Chinese Poet's Du Fu's poems. Maybe I feel too tired working on many music these few months. Finishing a Piano Sonata, my dream the String Sextet which I feel so grateful to have finished, a Violin Sonata and a few piano pieces, maybe it's time for me to slow my pace down and absorb more music again. Henry

Not sure if this is the right place for this post, but I came across something, quite simple but still fun. Was browsing youtube and stumbled upon a video. At the very beginning, the creator presented a 4 bar line of a Violin melody. (I've altered it a slight bit to make it a tiny bit more interesting. the original challenge melody reused the 1st measure, except with the same 4 32nd notes you see at the end of bar 3. I elected to simply change it to Gb, rather than staying on the G. I also included an ending 1 and a fine measure to sort of round it out a bit more. Here is the Challenge Melody): The instrumentation to be used for this challenge includes Vln. 1 & 2, Viola, and Cello. 4 Staves, with Vln. 1 already written for ya. Just curious to see what everyone else comes up with 🙂 Here is mine! I'm not a virtuoso or a master so mine will probably pale in comparison to some of yours. Lets see it! Harmony Challenge.mp3

Hi to everyone. This week I've been working on an exercise to orchestrate Debussy's Prelude No.6 from Book 1. I came up with two versions, one with a very restricted instrumentation, and the other with a larger ensemble. Interested to know which you think works best? The final bass dyad was very problematic, due to its extreme low pitch. It sounded too intrusive and twangy in the harp, and seemed off-pitch in the double-bass, with a horrible grating timbre. Eventually I decided to remove the lowest note altogether in the version with restricted instrumentation, and have the upper note pizz. instead of arco.

Hi everyone! This is my first piece for full symphony orchestra, first post, (and my first "completed" composition: a lot of firsts), and I'm definitely still learning how to orchestrate better, create nicer textures, and pace my compositions/develop melodies (all for fun, I just like listening to music and playing a little bit haha, so I don't have any formal composition background). This piece was inspired by various Romantic composers (with quotes from my 3 favorite symphonies--one is really obvious but I'm interested to see if others will recognize the snippets I tried to include) and includes two central themes. I'm open to all the advice I can get! Thanks for your time! PS. my score is really chaotic and I still need to clean up all the accidentals and stuff.

Nice piece! It makes me think of the C418 minecraft soundtrack. Yes, it does feel static, but personally I don't mind that at all. Although the best moments are when you break that staticness, like in bar 30-something with the sixtuplet. I like how you - when using the same chord for two successive bars - thin out / change the texture. Well done! Kind regards, Marius

Hello @A Ko and welcome to the forum! It's so fun that you snuck in some themes from other composers' works! At around 4:10 it sounds like you're quoting Mahler - Symphony 4 or 5 perhaps? It's amazing that your first finished composition is this long and for orchestra - congrats! Incorporating other composers' melodies in your own works smoothly and seamlessly is quite a difficult endeavor and it gives the listeners a fun little Easter egg hunt to go on - very clever idea to involve the listener in the listening process in yet another additional way! Thanks for sharing!

Made this account just so I could upload this and remind y'all never to end in minor : ) Also accidental Shostakovich in bar 3.

Hi! I'm new as well. I really like your piece - it has wonderful harmonic turns, it feels very well thought out. I especially like the really smooth key changes, and the part after b.24. The melodies are less recognisable, but I think it kinda suits the style. I think the playability is something you could work on (if you ever want a real orchestra to play it). First of all I'd try to change the key: probably to Eb and D instead of Db and C. You'll run into range issues doing that, but no-one likes playing with 5 flats. Whereas 3 flats is really nice for the winds and two sharps are nice for strings. Furthermore you might want to keep in mind that ppl need to breathe.. I'm mostly talking about the last note in the horns - I think it's possible, but it is a veeeery long note and also playing that pianissimo will only make it worse - you risk the sound getting quite shakey bc they'll be out of breath, and that will be very audible because no-one else is playing. Also the accel. from b.30 onward will be difficult to keep consistent. When performed it won't be as gradual as when done by a computer. Idem for other long gradual tempo changes. But for a professional orchestra these things would be entirely possible. And musically it's really good. I should say I don't have much experience reading scores or conducting so I don't know if this would be balanced at all - although I think so. My favourite moment is b.55 - really nice melody there! Kind regards Marius P.S.: Gershwin was really obvious. I think I heard some Sibelius 2 (mvt. 4) with that syncopated background and rising melody, but I'm not really sure. I didn't catch the third quote.

Henry, I apologize for taking so long to reply to another great piece of yours. After many repeated listenings, this is clearly a programmatic piece in my opinion. There is anguish, anxiety and a false sense of repose. The juxtaposition between light and heavy themes, minor and major works effectively to convey the message of your piece. I have a few reservations about the random pauses that come after the blues. I feel they interrupt the flow at times, and as for the blues itself I think the f double sharp in the theme would sound better if it were changed to a g sharp. Those are just my thoughts tho; the climax and the aftermath of it is quite well done. I am glad you were able to find peace and transcendence in your sextet.

Oh hey I like the contrabassoon idea, it's so rich in the lower register. Perhaps the easiest and right solution. Would it be so weird to have the piano with the orchestration? You mentioned harp, percussion, bells, etc., maybe the piano (or synth?) could be used as an accent/effect instrument in the ensemble. It could play the low notes of the final bass dyad in question, but just a random thought. Orchestration is really cool, and it helps I love Debussy haha. Nice work!

A minimalistic version I made Enjoy! Counterpoint Harmony Challange.mp3

Alex - overall both are very good orchestrations of the piano work. After listening to the piano work, I found, I missed the resonance of the lower notes vibrating (pedal). I'm not sure how to reproduce this quality in the lower winds and/or lower strings etc. Mark

Hi @kaiyunmusic! Really like this vibraphone like electric piano piece. I agree with Peter, the piece is more in 6/8 than in 3/4 since the dotted crotchet is the basic unit here, rather than the crotchet. Nonetheless, I enjoy very much the serene mood here. Thx for sharing! Henry

Hello @Vladisove! Welcome to the forum! I didn’t read your post at first, but I recognise the opening of the 1st piece as really Sibelius like with that particular Scandinavian colour, like use of harp and pizzicato and winds in high register. The thick brass in 1:50 has reminiscence of Wagner before returning to Sibelius Woodwind. Really love your woodwind usage here, particularly the English Horn. The D minor 2nd piece is really ice-cold just like Sibelius’s work. That English Horn/Oboe entry is amazing for portraying the bitter and cold mood. I love the vocal too, even tho I don’t know the lyrics. The ponticello tremolo opening is captivating. I love these mood here, though I think for a 10 minute piece it can introduce more memorable Melodies to sustain the interest throughout the piece. However I love the ending very much especially it ends in my favourite C sharp minor and F sharp minor. I love these pieces and they are amazing especially when you don’t receive formal music education. Maybe for me I would love to have more contrasting mood in this suite, since they are more or less in slower tempo and minor key, portraying the cold atmosphere as in Sibelius’s work. Thanks for joining and sharing your work! Remember to hit the like button under my comment so that we know you like my comment haha! Henry

This is the third and final movement of my Piano Sonata no.3 in C-sharp minor. It’s probably the most perplexing movement of music I have ever composed. For me it’s a struggle between Beethovenian heaviness (Es muss sein!) v.s. Unbearable lightness of blues (trying to imitate the style). Even though the first and second movement of the same Sonata has been commented as “random” before, I believe this one the most random of all haha. I once challenged myself whether to keep the eclecticism of the movement or not, but decided to leave it unchanged since all the styles were what I was thinking of and feeling at the moment. Here are the previous movements posted on YC before: 1st mov: 2nd mov: Piano Sonata no.3 in C-sharp minor 3rd mov.pdf The structure of the movement is a bit weird for me. It’s in Sonata form but the exposition and recapitulation never leave tonic key C-sharp minor at all, as the contrast of the 1st and 2nd subject is not achieved by key, but by style. In fact I only realized I was going for a Sonata form only when I almost finished the development section. Here is the structure of the movement: 0:00 Exposition, 1st Subject, 1st Theme: The falling fourth motive attacks immediately at the start of the movement in a passionate fashion, reminding himself of the pain he suffered after the more serene 2nd mov. It cools down in 0:31 and even keeps denying (or rather me denying my own sadness) by German sixth harmonic progressions, instead of normal dominant-tonic progression. 0:59 Exposition, 1st Subject, 2nd Theme: A deliberately repressed theme consisting of the inversion of a fourth, i.e. fifth, later gets more agitated with the Chopin Revolutionary Etude like L.H. accompaniment. It keeps on boiling until reaching the transition. I got crazy there thus I wanna try escaping… 2:28 Exposition, 2nd Subject: This section is made of 12 bar blues elements, thx to Arjuna’s @expert21 suggestion, although I already originally wanted some nihilistic jazz elements to contrast with the heavier 1st Subject. The pattern is repeated thrice, first just the “accompaniment”, then with the falling fourth motive theme added, and lastly an “electric-guitar-like” melody thx to of course my buddy Vince @Thatguy v2.0, as I won’t ever try to write something in jazz without his piano preludes. The locrian melody of course is a quotation from the 2nd mov opening! 3:46 Development, 1st Part: The opening falling fourth motive attacks again and modulates to keys I didn’t where it would go when composing lol, and finally reaches C# Locrian which confuses even me! It ends with a bridge of the locrian in L.H. quoting a little of the blues theme to the next part. 4:48 Development, 2nd Part: This part first develops the 2nd theme of 1st subject, then ends in confusion again. Suddenly a new theme emerges in the distant E-flat major and repeats again in relative major E major in a more passionate manner, until it boils down to a marvellously passionate retransition in 6:39 which I believe is the most beautiful section of the entire movement. It’s by composing this passage that I knew my creative power had finally come back. The passage ends in a desolation which leads back to the recap. 7:17 Recapitulation, 1st Subject, 1st part: A weird section. I finally could not refuse to admit my sadness by having a normal dominant-tonic progression, but still tried to escape by quoting the reminiscence of the blues themes like in a film montage jump cut in a Godard style (or, Stravinskian juxtaposition). 8:40 Recapitulation, 1st Subject, 2nd part: The 2nd theme of the expo 1st subject reappears in the L.H., and then a beautiful variation which I was probably laughing at myself for my weakness. The music goes on and gets more agitated until going to the 2nd subject. 9:32 Recapitulation, 2nd Subject: The previous “light-hearted” blues theme is transformed to an enraged Rachmanioffian roar. It subsequently cools down and tries to go for hope in the coda. 10:18 Coda, 1st Part: I tried to find peace by quoting the beautiful theme in the development plus 2nd mov’s 1st theme in counterpoint, repeat twice, 1st time in major and 2nd time pentatonic. The Locrian theme in the exposition is then transformed to a pentatonic plus the blue note of flattened sixth, signifying my attempt to find peace… 11:16 Coda, 2nd Part: However it’s futile. I realized that my sadness could not be “transcended”, at least not here, and finally realized my pain. The heavy falling fourth motive keeps attacking, and finally I was able to make a simple dominant-tonic chord progression to admit my pain, when the question is laid unanswered from the beginning of the entire sonata. The movement and the whole Sonata ended in utter desolation, as I had no energy anymore to fight as in the 1st mov and 2rd mov, nor create an imaginary utopia for myself as in 2nd mov and 3rd mov… The movement was primarily composed from Dec 2024 to Jan 2025, under a state of depression and confusion, due to what I had suffered in my full time job. I struggled a lot whether I should have a happy or sad ending for the whole sonata, but my mind gave me the answer. I could not pretend to be happy or hopeful at that time by forcing a meaningless Picardy-3rd at the end as in many of the Romantic Sonatas or pieces. I had to admit my sadness then. Paradoxically by doing that, I left all the negatives here so I had the 200% positiveness for my Sextet, which is my best piece and probably the most optimistic piece I ever composed. I tried my best at playing the movement already despite some slips haha. Hope you enjoy the movement and even go back to the 1st movement to listen to the whole Sonata! Thank you for listening,and possibly reading through this and commenting!!!!! Btw, here's Vince Preludes which inspire me: Prelude no.7: Prelude no.9: Prelude no.3: Henry

An Incredible orchestral landscape. I think you captured the loneliness of the piece quite well; the pedal effects are achieved naturally by the sustaining quality of the winds and strings. Just keep in mind, those triple and quadruple pianos may be hard to project, if you get a real ensemble to play your piece. It’s interesting to hear how differently you’ve approached this prelude as compared to another recent orchestration: Of course, I also hear similarities but I do really prefer your choice of instruments. There seems to be more drama and depth of feeling.

Thanks Mark. I could perhaps use more contrabassoon for bass resonance. Not sure double-bass would work. Its timbre is a bit too harsh, and doesn't really suit the material IMHO. I did have thoughts about adding some percussion. Perhaps a mark tree, sleigh bells or triangle to sprinkle some Christmassy magic? Maybe that would sound too cheesy though?

Hey everyone! My name is Vlad, and in my free time, I dabble in composing what I like to call "pseudo-academic" music. I have absolutely no formal music education—just countless hours spent listening to classical works. I’d love to share my Symphonic Suite from Freyja - Vanadis, a piece heavily inspired by Sibelius and Wagner.

Thanks for the nice words! As for the quick moves thing—it’s just that I’m not skilled enough yet. But you’re being so kind to me!

Interesting. I put your piece through and got much better results. Can you try again? I'm also happy to share a link to the full transcription if you want.

Hiii! @PeterthePapercomPoser Thank you for your feedback!! This piece also represents a character in a history, which I I represent as the tritone interval. In the first part of the piece, each bar starts with a tritone over the bass of the chord, so it seems that it uses that weird scale

Hi @Samuel_vangogh! You made this art? It looks great! The music is wonderful too! The delaying of the resolution to the tonic through repeated ii - V's is to me a very cool feature. The ending is quite unusual as well and despite not ending on the tonic, it still sounds finished. Also, something I noticed is that (at least in the beginning) the piece seems to be in the Acoustic mode (or Lydian b7 or Mixolydian #4). But there's plenty of chromaticism as well. The simplicity but exploration of non-harmonic tones is also a bit Satie-like. Thanks for sharing! P.S.: would you post a link to your artwork, if possible as a high resolution image? That would be really great! Thanks in advance!

I enjoyed the opening theme, harmonies and mood you created in the work. Personally, I would have enjoyed a bit more variation/contrast (in context) on the presenting theme. I think it would have added a bit more tension/dimension to the work. Mark

Hi Peter, Thanks for listening! For the bells, I was using a preset called Old Memories on GarageBand's Sun Glitters Pad. There's definitely some detuning at work; but I didn't have control over it as such. The work uses three different presets on this pad; but I don't think I used any automation between presets as the music evolved. Instead I just put them on different tracks. If I was remaking it now, I think I would use some automation to make it even more weird!

Hi all .... Here's composition that I began a few years back; however, I really never finished to my satisfaction. So he's my latest version .... all comments/criticisms/suggestions as well pleasantries are welcome. Mark

Peter, Thanks for the review. My compositions can be a bit dense ... I have been actively working to address this ... Ironically, the ending of this work was edited/re-orchestrated to lessen the density and bring out the more prominent thematic material; however, it did leave the ending with less of a punch. I have another version with more density and more satisfying ending. So I will once again I will review the work to create a better build up punch at its conclusion ... balancing both aspects of the work. Also, thanks for the kind words about my style! I don't know if the way I compose/orchestrate influences my style. For me the score sheet - is a way to build the architecture of the work - in a sense I am a very visual composer. Mark

Hi @Some Guy That writes Music! I love the song-like quality of the music and the breathtaking modulations! Some of the melodies sometimes sound like they're wandering around aimlessly up and down the scale in step-wise motion which doesn't make for a very interesting melodic content. Other times you break away from the step-wise motion and the music seems much more romantic and purposeful there. Although I guess the other extreme of avoiding step-wise motion would be to skip around to chord tones. Of course, that wouldn't be interesting either all the time. But you do show some good choice use of non-harmonic tones on strong beats to really bring out their beauty. Thanks for sharing. I really enjoyed the romantic flourishing and I loved the quiet ending!

Hi @Alex Weidmann! I really love the tubular-bell/chimes in the latter half of the piece. Are you using microtones at all in this? The bells sound kinda cool and a bit out of tune. Thanks for sharing!

Hi, I finished a new composition called Star Away. I chose an electric piano sound this time because I found it more fitting. Hope you enjoy listening! Updated to 3/4

Hi @Luis Hernández! Sorry for my late reply. Very interesting to use the constructed Greek scale to compose. It sounds somewhat microtonal for me in some places. And it does sound impressionistic! Thx for sharing! Henry

Hi @Marc Deflin! I generally enjoy the mood of the piece. Are the chords in the first A section intentionally bare? Sometimes the chords only have their roots and fifths and it sounds bare to me if it's not fitted to other purposes. I like the D major sections more since they sound more flowing and melodious to me. Personally in b.16 the viola should be in C# instead of C for a melodic minor ascending, and b.26 cello C# instead of C to prevent the false relation with violin I if you do not do it intentionally. Also ending it in D major sounds a bit unfinished to me, since it sounds like the whole A section in E minor without clear purpose. Maybe add a smoother transtion before b.55 so that the turn to D major sounds more definite and reasonable? Thx for sharing! Henry

one of my favorites to cover:

@Henry Ng Tsz Kiu Thank you very much man, I haven't gotten such compliments in a long time wow. 😮 I agree, the tritone leap at the local climax from the start sounds like it comes from a Mahler piece, it has the same type of expressive nature (this choice was intentional). The harmonic exploration I did at the start is something I want to study in detail for future compositions, it feels atonal but grounded in tonal harmonic structures. Thank you! For me the central climax feels like watching a movie scene where a man has lost everything in war, or something similar. The Christ comparison is too much in my opinion haha, but I do try to transform my personal suffering into something people can enjoy. 🙂 @Luis Hernández Thank you! Yes, I used a similar idea, this is achieved by delaying the C# minor resolution for the very last chord of the composition. All the time I avoid a pure C# minor chord like in measures 2, 13 and 20. @Thatguy v2.0 Thank you! I wasn't expecting to express so much in less than two minutes, I guess my body was craving expressing itself after months of creative silence. @PeterthePapercomPoser Thanks. 🙂 Yes, I made some little experiments in this piece and the results seem interesting. I do hope this helps me get the courage to compose a small symphonic poem in the near future.

No one can play Sweet Georgia Brown like me, except the guy that taught it to me ofc