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Thank you. It's the sound of blowing wind. Each sound was resampled. The train tracks were the bass drum, but I didn't think to make it punchy. Fun note, the wolf howls are the same material of sound as the bell. The wolf howls were made by manipulating the bell sound into a howl.

I've taken to another exercise from Chapter 8 of Persichetti's "20th Century Harmony" - "Compound and Mirror Harmony". This time I've chosen Exercise 7 - "Move a chamber group through several mirror chords where the reflective harmony is generated by the same tone and by different tones." In this case he is referring to using symmetrically invertible scales just like in Exercise 8 which I already did. In that exercise I built the respective mirror scales on the same tone (C) so in this exercise I sought to build the mirror scales on different tones only. I also created an inverted canon at a 10th and a quarter note between the Oboes and Bassoons. I used the following chart from the book to simplify the exercise for myself (so I used E Mixolydian in the Oboes and C Aeolian in the Bassoons). At one point I switch the Oboes to Ionian and Bassoons to Phrygian, just like in Exercise 8, but this isn't accompanied by key signature changes. Thanks for reading and for listening! I would appreciate any of your suggestions, comments, critiques or observations! Persichetti Exercise 8 - 7.mp3 Persichetti Exercise 8 - 7.pdf

This is something I've been wanting to do for a while. The lamento bass is a famous motif based on the simple idea of the descending tetrachord (commonly in d minor). In my realization I build momentum with complexity with which I aim to demonstrate the range of possibilities within this short space. One can keep going with more variations. It is both a beautiful and inexhaustible concept. Prelude for the Soul.mp3 Prelude for the Soul.pdf

Welcome all! I've gone back to the Late Baroque with my latest orchestration. I chose Rameau's Allemande in A minor, because I don't think it's been orchestrated before. (At least I can't find another orchestration.) I made a controversial choice to soup up the tempo: so I'd be interested to know whether any of you have different opinions on this? I had to write a short linking passage at Bar 37; otherwise the transition to the next section sounded too abrupt. Haven't put in the repeat of the second half as yet. I wonder if you think I should? And if so, what instrumentation would you suggest. Started putting in slurs; but haven't finished yet, because it's a long tedious job! Hope you enjoy listening, Alex Rameau - Allemande in A minor (orchestration) #19.mp3 Rameau - Allemande in A minor (orchestration) #21.pdf

Hello I’ve written another sketch for orchestra. In this piece, I’ve used ‘sound mass’ techniques in some sections, and harmonies based on fourths… I haven’t really thought about any specific chords, just voice leading. The first section is the fanfare; the second is the more subdued, evocative section. There are no oboes or violins, so that the brilliance comes from the brass. Fanfarria.mp3 Fanfarria.pdf

Hey all, This is the current iteration of the second movement. Eager to hear people's views so far on this... whether it works. The bit I am currently working on is intended to be a fugata, in the spirit of Beethoven's own in his Erocia, second movement (which I love). I am using that as a model. Never done that before and it's certainly a challenge. I haven't finished the wind writing which will have two parts for each instrument except for solo areas (i.e. the beginning). I wouldn’t bother looking for errors as it’s still a work in progress. There is still much to refine. It would just be helpful to just gauge how the ideas come together while i’m immersed in the rabbit hole! 🤣 Symphony in A (Second movement Draft).mp3 Symphony in A (Second movement Draft).pdf