Thatguy v2.0

Sounds like a good base, I'm excited to hear the final product

This is the best description for posted music I've seen, well done 😄 I liked this more and more as it went on. It kind of reminded me of the form of Bolero, just this giant crescendo of a piece. All the electronics and effects worked really well. At first I didn't think I would care for it, but as I said, by the end I wanted to replay it again. The ending caught me off guard too, very cool! I really like your Thom Yorke style of singing, you kind of sound like him too, especially when your vocals first entered. You a Radiohead fan? Your vocals became more emotional and unchained as it went on, I could really feel the pain. It was a bit much for me, but I think it fit the song well and shouldn't be altered. Awesome work mate! Keep the hits coming for my YC feed

Hey there Nikkol I knew I remembered you, I listened to your music before. These tracks are definitely an improvement, and I like the instrumental approach. 🙂 I think I liked Lana more than Carly, because you had many more moments with melody. That's something I would continue to pursue, because without vocals the music could sound kind of empty with just drums and rhythm guitar. I dig the drum parts too! Just make sure to keep practicing your craft because the drums and guitar are out of sync in places. Keep writing and posting, looking forward to hearing more guitar around here 😄

Your music is great! I listened to the three you posted, and they're all wonderful. This one was my favorite, thanks for sharing 🙂

Wow, there are some really colorful moments here! I love 4:00 - 5:00, it's like you treat the orchestra as a percussion instrument 🙂 Very very cool! Love the big unanticipated chord at 8:30 too. Aw, lame, but I get it. I've been there, we are our own worst critics. I would have submitted anyway, it is quite good to me. Your score looks great too. I think the big changes you would want to do are better left alone, as you've done. Save those ideas for the next one. You can sit there and tinker with orchestra pieces forever, no shame in letting it be as is. Watch your levels in the mix, you have a few spots where I hear distortion, but that's an easy fix. Around the 9 min mark is an example. I think it's brass? Lovely piece, thanks for sharing! I've heard your music a few times now, I dig your style.

Movement 1 - Just commenting on the guitar. - must show fingering and hand positions with notation. There are several moments where I had to try and figure out things, and when I did, sometimes the chords worked but felt awkward. I write tablature with notation, it helps and I don't have to show positions and fingerings. Sometimes I'll write fingering if it's weird. - in general, the guitar strumming sounds very parallel 5th heavy, to me it clashes with the string writing. Parallel octaves and fifths don't sound bad on guitar, but they just jump out in the midi. Maybe it's just that, dunno. Some of the chords could have smoother voice leading, it seems like you were rooted with open chords. - bar 2, last chord doesn't work (mistake?) - bar 8, why not have the pedal A? - bars 13-16, you do this a few times, but check the voices. You tend to drop or add voices freely between chords, and it gives a choppiness to me - bar 18, why the different Bb shape? - bar 49, first chord sounds out of place - bars 75-77, voices again - bars 85-87, because my hands are too big, I can't play that C barre chord on the A string (my finger mutes the high e), I have to play in on the E. When I got to bar 87, it took a minute to realize I couldn't play it there and had to be on the A string. I would've omitted the top note if I were the performer. Just an example of why positions in the notation are very helpful. - bar 90, let any of these ring? - bar 99, impossible chord - bar 107, last chord sounds out of place, it's a jarring transition That's all that popped out at me, hopefully this helps your writing!

When @Henry Ng Tsz Kiu first joined, he posted his clarinet quintet, it's like an hour long... and it wasn't until SIX weeks later that he got someone to give legitimate feedback, and all that while he listened to nearly everyone's music and posted quality advice. It seems unbelievable, but like literally everyone lol. No one even cared to reciprocate all his generosity and FREE labor for weeks and weeks, and it wasn't until @Omicronrg9 gave him quite possibly the greatest most in depth review I've ever seen. From that, I got to know Henry and Daniel better, and eventually @PeterthePapercomPoser, @chopin, and I all started conversing on discord. It's cool how you can meet people from all over the world with like-minded passions, and we still chat here and there on discord. I'm thankful for the community, for the friendships. But this happens because we're all actively engaged with each other's music. We're interested in helping each other out, getting to know each other, etc. Now whenever I see any of their new music posted, I'm quick to notice and excited to share a thought or two. Mostly because I just WANT to, but also because I know they'll do the same for me. Even if I never post music anywhere else, I know the YC bros will at least check it out. You seem young, get to know some people first! A lot of people here are in their teens and twenties, and they'll be more eager to share thoughts with a familiar username than a foreign one. You'll fit right in. And until then, poke around the forums too! There's TONS of cool music here. TONS of great composers roam this forum, even if some only come by occasionally, so don't be afraid to reach out 🙂 People will get around to your post, it's usually not as instant as you (or I) would like. I write song lyrics, but not much else as far as words. Keep posting more music too, because the more cool pieces people interested in your question can sift through, the better chance you'll have.

The string pizz. reminded me of this. It's kind of unrelated, but you might dig it if I haven't already shown it to you lol https://www.youtube.com/watch?v=1dPpbYlW0pQ&list=PL1649A3A736810FFC&index=4 This is really cool, I think the instrumentation is wise as well. It doesn't have the sense of wonder like the Donkey Kong music, it's more foreboding to me. Maybe like exploring the wreckage of a sunken ship, or scanning for alien-like creatures at the depths of the ocean floor. Very mysterious and tranquil, but still the sense of danger. I think the lumatone gets a bit repetitive, maybe it's just me? I suppose some spots you could crank the dynamics way down, or break up the flow of it during one of the string parts. I'm just imagining it being looped, but if it's background enough I think it works. The part itself IS very cool, it really works with the microtonal writing. Idiomatic and picturesque. Just initial impressions! I'm still not convinced of microtonal music, but I admire your journey and like your writing style with it. 🙂

Hey Markus, I haven't seen you in a while, glad to hear you're still writing 🙂 I love these kinds of posts. It's really cool to hear your problem, then for me to try it out and mess around on it. Thanks for posting your thought process, as I can start with yours and see where that takes me. One idea I had was to let the clarinet be a pedal point for the E7. I had F for the "Dm" chord measure, but it didn't sound good to me. I liked the absence of the clarinet here, so maybe keep it simple if this thought leads you somewhere. For me, it helps to see the entire 4 bar phrase as E7. I know that one spot is tricky, but it just seems like a big cadence to Am (Also, this whole transition from Bb to F is wonderful and very smooth. Is it Am - C7 - F? I like the iii - V7 - I movement). If I look at it as E7 with a bunch of chromatics, it's easier to think about the clarinet. I came up with this pretty quick, I'm sure the notes could be tinkered with. I don't remember, but little rhythmic motifs you may have used could go well with the clarinet, I just came up with something simple. Oh, and our music player sucks lol. It's hard to go to a certain spot within a piece, so I think I've heard the first minute or so several times 😄 Hopefully some of these thoughts are useful 🙂 Great stuff, keep us updated! P.S. The bassoon starts on B nat. right?

Lovely! Keep writing, you've got natural talent and cool ideas 🙂 As mentioned, if you use a software that creates a score, post that too! We can help with your writing and analysis more clearly with the orchestration visibly exposed. If not, that's not a worry either, and if you have specific concerns with your music just ask. People here are mostly pretty helpful and responsive. Especially @Henry Ng Tsz Kiu. In fact, he prefers it if you ask him lots of questions, even when he's asleep! Just playing around, welcome!

Thanks! Just classical guitar patch with noteperformer I initially thought I would have to do that, but I started out with just reading the piano sheet music and trying to arrange the larger range of notes within the confines of a fretboard and ran with it. It's the original key, but I'm not completely sold on how I had to go high in measure 13 on the Bb chord. I'd love the Bb to be the lowest note, so maybe my low E. Then it's in C#m which is cool but eh we'll see. Interesting take, I could see that! Check out the original, it's much more somber and just overall better lol. https://www.youtube.com/watch?v=0R14whYG0k8 ❤️

You know, I kept meaning to comment on this, and then life got busy. Whoops! Thanks for the kind words, buddy. I'm happy to have gotten to know you, and your music has influenced mine as well. 🙂 I've listened to this a few times since you've posted. It's probably not a surprise to know that this is my favorite piece of yours. The sonata as a whole is so addicting to listen to, it kind of checks all my boxes as far as just plain old good enjoyable music. Your playing is outrageously fiery in this too! I love it. You're such a passionate player, and I can hear the grit and wrath, and also the softness and pensive yearning. At first I wasn't sure how all the vastly different themes blended together, but in the end I think it works. I like the sort of confusion in the form too. The transitions seemed iffy in some spots, but when I think about it, it's kind of cool that you smoothly blend some transitions, yet others are sudden complete shifts. To me it actually helps with figuring out how to mix and match your themes, adding to the jaunty diversity of it all. The nihilistically scherzo part is so friggin cool! I love all the bluesy parts, and it's a fresh take to a familiar style for my ears. It sounds like you gave sophistication and elegance to a naturally rough around the edges kind of music. Love it 🙂 This was wonderful, Henry, and I and I'm sure many others love hearing what you present here. I'm continually impressed with your work ethic and motivation to present your music in the best way you can. Your piano playing is admirable, and many others including myself look up to your compositional talent and enormous heart. Thanks for sharing Henry!

Fun thing I arranged today. I've been working on learning new solo guitar pieces, and recently have been learning some of my favorites from the classical/concert realm. This isn't the most popular of Mr. Sibelius' work, as it's a cold funeral march type of thing, but I love it. I couldn't find a guitar version, so I dabbled at my own. I might record this at some point when I can stop screwing up measure 12 😄

Sure, man. Good luck with future music!

Wow, this is amazing! I think this style definitely suits you, and I really like hearing that you had the chance to work with the performers. It's great you got such a nice recording, but the knowledge you've gained is invaluable. Wonderful work, buddy 🙂