Some Guy That writes Music

oh i was kidding but i didn't know that.

oh yeah, thats a little better lol

weird...

Great work, I througholy enjoyed it. Quick notes: your main motif that first appears in the horn, you should use sharps instead of flats, as in A# instead of Bb because you're then leading into the B. Just the more easy to read version. A piccolo to flute switch cannot happen as quickly as you have written on page 4. I have a feeling you know this an ignored it for play back but still worth mentioning. m. 90 oh my god so stunning. Shook me to my core the same way when my favorite character in a movie dies. m.120 B natural not Cb. Really beautiful melodies and accompaniment. This is phenomenal work, regardless of if it is your first. However there are some general things to mention. The first is the doubling, or in your case, half-the-orchestra-ing. Every composer has done it, but it almost always in the beginning of their orchestra careers they do so. You’ve written a phenomenal melody here. Right now, it's heavily doubled across a massive chunk of the orchestra. It's a classic trap we all fall into because the melody sounds so good we want everyone to play it! However, when everyone plays the melody at once, we lose the unique fingerprints of the individual instruments. What if you experimented with passing the melody around like a torch? How does the emotional weight shift if a solo cello introduces it, and then a clarinet takes over? Try giving the melody to fewer instruments at once, and use the rest of the orchestra to create distinct, evolving textures underneath. Make us believe that this specific instrument is the only one that could say this part of the phrase. Also for the accompanying instruments, find new ways to accompany so even the double basses can have something interesting to do. I myself wrote (and still write) works similar to yours, but I would recommend fighting your desire for the super double, instead finding new ways to fill the space with sound. You'll find this in most composers, but my favorites for understanding this is Brahms, Tchaikovsky, and Rachmaninoff. Also resources: Principles of Orchestration by Nikolay Rimsky-Korsakov (Korsakov is a huge stickler for reduction in the orchestra to maximize color) The Study of Orchestration by Samuel Adler

Nice work! Very Pleasant.

New title “Death of a space knight”

I wrote this piece with a focus on form over programmatic intentions. It is by far my most complex work yet, with a few distinct motifs which are reused and varied throughout. There is very few times where the motives are not apparent. This is also technically a first full draft, but I was very excited to show you all this work. Death of a Knight.pdf

Bumping so people can hear the changed endings and edits.

Music sounds good, how do you produce your music? I noticed you transition from piano improvisation straight into MuseScore 4. When you're moving those ideas over, do you find yourself live-recording MIDI to capture the 'feel,' or are you manually inputting notes to keep the notation clean? I always struggle with how much human data to keep versus making it look perfect on the page.

😯 Wow... This piece really transported me there. Therefore an amazing submission, outstanding work. You seem like you may be a string player with your preference on hand position, and your pfp, but I still must say, this is some very difficult music to play. If I were to find out that a chamber group was going to play this, my first question no matter the group, would be if they could pull it off. But if I trusted the group, I would NEED to hear this.

This is a simple expression of hope. Spring - Spring.mp3 Spring.pdf

Beautiful Renaissance Style Writing. Really intriguing and fun to follow. Although this next request unstylistic, I can't help but wish for articulations, and dynamics. I know blasphemy, but consider this is a "MIDI audio" competition (basically). I think secretly adding some articulations and dynamics would add and extra layer of interest.

Hello Folks, I'm glad to be showing a little bit more music for you all. Today I'm showing a piece I wrote a while ago, but never planned on showing because Musescore can't perform it. But I recently upgraded significantly to SWAM instruments. Much less lush but more controllable, this piece was the first I wanted to do because of it's intimate feeling, and use of overtones and unusual techniques.. This piece is meant to reflect my experience of grief, specifically, the kind that surfaces while I’m trying to fall asleep. On some nights, like the one that inspired this piece, sleep feels impossible. Stress, homework, expectations—they all build up, one on top of the other, and under their weight, grief begins to surface. Suddenly, my thoughts are filled with loss. It’s not painful exactly, nor is it something I want to erase. But it carries a quiet melancholy, releasing the sadness, anger, and tension I’ve accumulated over time. In a strange way, this grief becomes a kind of relief. A way to let go of everything I’ve been holding in. Still, it lingers. It loops in my mind. Eventually, I have to let it go so I can rest. I have to keep living. I can’t stay immersed in sorrow forever. So I walk along the river, letting the sounds of the water drown out my thoughts. I walk until my legs are sore, until exhaustion replaces emotion. Then I go home, lie down, and finally sleep—my grief forgotten, at least for the night. Also this piece was one of the few I actually (somewhat) planned ahead. This is what I had planned "Walk to forget Bass Clarinet, Alto Saxophone, 1 Percussion, Violin, Viola, Violoncello. This piece is intended to in some way, describe my experience of grief, specifically while trying to fall asleep. Some nights, like the night this piece is based off of, I struggle to fall asleep. Stress, homework, expectations, all pile on top of each other, and this pressure releases grief. Suddenly my mind is occupied by grief and loss. It’s not painful, or something I want to forget. But it’s melancholic, it releases the sadness, anger, and stress I’ve felt over time. This grief is actually a chance to release all my struggles. But it goes on and on. At some point, I must forget my grief again, so I may sleep. I must go on with my life, and cannot wallow in my grief. So I walk along the river, till the sounds swallow my mind. I walk until my legs are tired and that’s all I can think about. So I go home, go to bed, and have forgotten my grief, and everything that caused it, and sleep. So how do I convey this in a piece of music? I need a theme/motif for grief: I imagine something in the alto saxophone. I think introducing it with a poking/prodding motive, like a repeated note, taken from instrument to instrument. An idea that represents the stress of life, poking my brain to the edge. This I’m not sure will work with the time constraint, and I may just begin at the next part. Then a swell and complete change to the grief motive. In this context, I imagine something legato and sostenuto, non-triatic and lacking “home”. I think the alto saxophone should appear in the high register for the first time, everyone should be in a higher register than before, which might make the prodding motive earlier less effective, but this grief motive more effective. The grief motive must have a rhythmic element to it, so that it is recognizable as key centers change, and the pitches can be moved around functionally, to allow moments of tonal beauty amongst the quartel nature of the motive. There also needs to be a nature element, an ostinato to represent walking, and getting distracted by the wind, the stars, the river. The grief motive slowly becomes less and less present until it is taken over by the nature motives. Then we sleep. A meditative ending." Walk.mp3 Izaak Thoms Walk Final.pdf

me me me. I intend!

I thoroughly enjoyed this piece. Utilizes the full instrument very well. I enjoyed the upward sequences, really built excitement. 1:50 beautiful. 2:45 a wonderful build up. 3:40 exciting. 4:05 awesome, and great playing here. Nice ending.