Some Guy That writes Music

This piece was a 5 hour long highly motivated hyper-focus. One of the piece I'm more proud of. And it's only 3:30 long unlike a lot of my other stuff haha. Please enjoy. Here's a youtube with just the melody:

I like it and think it is a cool conception. I do worry about the range for soprano 1. Staying near and above the staff as often as they do would be difficult for any non-professional choir.

Hello Guys, I just wanted to share a little septet that I wrote for strings.

Gorgeous! You use the voices quite well here. I think this piece really shines in the parts that have rests. I think this is mostly because it feels like you are using the instruments the most you can, and if the harmony doesn't need more notes, you leave them out. You create some extraordinary beauty in those moments. I think your rests really allow the feeling of "Sentimentality" rise out. That along with your gorgeous harmony.

Hello everyone again, Today I bring forward my first choral piece that I've been proud of *in years*. It has been a very inspired piece written over the course of today (I skipped my Italian Class for this, Mi spiace!). Anyways about this piece. I've been wanting to write a choral piece for a while now, and I had recently felt inspired, so I've been scouring here-and-there for poems. And although I had read dozens of poems that moved me and made me want to write a piece; I struggled to connect the words and music. So I decided to write my own, and I figured the most convincing writing I could do, would be for my partner. So this whole piece is written directly to my love. The main overarching theme is; I could never overstate my affection, because words could never say everything I felt. So I use music to do so. The song begins with very classic American clichés. "you are the apple of my eye. the wonder of my daily life. my shining star" Exaggerated and cheesy language, which is how I talk with my partner. There are slow, fast, loud and quiet "I love yous" because I find myself saying it differently and meaning it the same way all the time. Then we get to the crux of the piece "I love you more than words could ever express. But I'll try". Even though just saying 'i love you' does not say it all, it gets me that much closer, and proclaiming love many times gets me closer to that unreachable goal. And then we loop around and say things again. This piece is in ABACA form and for the C section I decided to not use any words. I hope you enjoy, and please give me feedback to improve this piece, if there is anything (even if you can't figure out what it is) let me know and I'll take your feedback. This would be a good piece for my choir to perform, I just want to make sure I didn't miss anything important.

In my studies of orchestration I've been doing some exercises, today I'm showing my attempt at the emotion "Sorrow/Depressed". I got this from a wheel of emotion that I will continue to use for further exercises. I'd appreciate if anyone could challenge me to showing an emotion on this wheel, this way I do something that doesn't just catch my eye. In this exercise I use alot of half steps to create an uneasy feeling hopefully a feeling of "where is the tonic". While the tonic is relatively simple most of the time, I feel like I did successfully create an uneasy feeling. I also use sparse and changing orchestration to keep the listener on their toes. The hardest part about sadness/depressed was differentiating it from other emotions, and I thought if I kept it too tonal that the whole thing might sound more like a different emotion. Do you think I succeeded? Anything you think could've done better.

Hello Everyone, You may recognize two of these pieces as I posted them before, and now I have finished the collection. This work is supposed to represent the placess that I call home, one of which is my partner "Emma". We begin in New York where I went from kindergarten to 11th Grade. This movement uses alot of asymmetric time signatures, to respect the many influences in my life at this point. Altough not a very jazzy piece, it still takes from some outside influences. I then moved to North Dakota my Senior year of high school where I found a new self, and started to respect myself. Every summer I come back to work and build up finances before school and I feel at home. Portland represents the scenic nature, and demands of college. One of the themes repeats three times, each time slower, and easier to manage. As I've figured out how to function, after never needing to study or do homework before. And Emma is meant to represent the love of my life. The movement starts quite dark, as it represents where I started with Emma. My previous relationship was rocky, and it influenced my relationship with Emma. But soon I learned that her love was not conciliatory, but rather true and unhindered, and you'll hear this in swell getting more and more joyful. The piece does not end with bells and whistles, but rather a tutti pianissimo. This ending represents the peace I feel, knowing she loves me, and that she has taught me to love myself. Also I have purchased some new sound libraries. I am using the berlin woodwinds and brass, with some cinepercussion. (I also bought some strings but truthfully musescore strings really are the best for all around sounds. The others just aren't as smooth.)

This is a great work. The tutti sections are faboulous. And the horn swells too. I really love most of this piece, so when looking for critiques I had to look at the score and say "I guess I loved that a little less". My first worry is just projection with the low parts of the Trombone, that's really low, and you do have everyone else at ppp, but just so you know, the trombone is gonna be even quieter than your DAW is showing. m. 17 is awesome none the less. m 20. is great. m 28 seemed to miss something. You know 39 is great. m. 50 speficially feels like its missing some subdivision rythmically. Not a mandatory fix, but may help energywise. I have to say, when move the straight mutes, from that point on I'm not sure I'm convinced. It might be because the DAW took me out of it, but I don't think so. The vibes feel too different, like we've been working up to something and this wasn't it. I was so ready for 74 to resolve us, but we kept going on and lost our home. It's still well written imo but I felt like I lost your vision.

I thought this little bit was great. It would be a very convincing begining. Now all you need to is to flesh out the theme over time. The instruments interplay is quite nice and finding a way to continue that energy in quieter sections would be cool. I don't think anything needs to be changed from what you have, more so the rest of the piece would depend on the evolution, variation and repition of a theme. The violin part to me is the most ear-catching part, but in part because of the cello counter melody.

Thank you I appreciate your feedback! Thank you for your feedback! I am use Musescore 4, muse sound, which is all free. As for orchestration, I have not taken any classes on it or anything, but I've been studying music for vocal performance for 3 years now. I think the biggest thing I have learnt is to take the limitations of instruments as oppurtunities to use instruments for specific colors, and to modulate to use those colors. Also listening to different music has helped me discover colors, and then feel inspired to use those colors.

I've been thinking for awhile about how cool a '12 angry men' opera would be. I don't think I'll be the one to write it, but I did think about a prelude idea for the opera. So here it is. In this I try to draw the picture of the train passing, the murder, and the old man trying to catch the kid, and after that is this idea of a close-up on the murdered man, and music leading to the supposed opera its' self. I do wish I had the energy to write out this whole opera, but writing something that big without it ever being performed doesnt seem worth it for me.

Hello everyone once again, today I bring forward a saxophone quartet (which is my first time using the instruments), called "The Restaurant". I've been serving all day everyday for the last couple weeks and I wanted to write a piece that goes through the calm, the chaos, and the attempt to appear look like it's not all getting to you.

So I've recently returned home for the summer from school and while I've had a house to myself I've decided to work on a song cycle for orchestra to paint a picture of the different places I've lived. It's generally surface level observation with the 4 places being 1. New York 2. North Dakota 3. Portland and 4. Emma who is the person who always makes me feel at home. New York is a jazzy movement in 12/8, North Dakota is a classic pentatonic melody, Portland is likely going to be more experimental and contemporary, and Emma is just supposed to make you realize how much I love her with each swell. With that I have started New York, finished North Dakota, and Emma, and am vastly afraid of Portland because it is likely the most complex movement. I started this as something to do while waiting for my summer job and now I will be very busy for the next few months so I'm not sure i'll get a chance to finish it soon, but am eager to share what I do have.

hi @Gwendolyn Przyjazna thank you for listening! I really appreciate what you've said about this piece, I'm very glad it had the intended effect. As for bar 51, it mostly came down to getting musescore to make the sound I wanted. Most other options simply were too short, I want space between note, but I don't want the onset to be sudden. I want a relaxed onset, and then a soft cutoff to make space before the next note. detache would probably be fine but I'm a singer and am not aware the intrinsic meaning of that marking. As for the clipping, sadly there's not much I can do ;-;. Thank you for commenting, I appreciate you feedback.

I decided to write for trio plus voice using a poem by Sarah Mangold. The poem at first seems quite bizarre. The list of observations ("celestial winds", "rainbows", "kidneys", "gesture of remembrance") highlights the randomness and diversity of things we might notice in life. Each has its own significance but it's unclear which will ultimately matter. So as a result the poem makes little sense, until some thought is put into it. "Perishing the keeper" might refer to the inevitability of death and the loss of those who hold or keep memories, knowledge, or roles. "Footless birds of paradise" combines a paradoxical image with a symbol of exotic beauty. Birds of paradise are known for their stunning appearance and unique behaviors. The term "footless" might suggest something unattainable or ethereal, enhancing the sense of mystery and beauty. I decided to put this poem to music by having a feeling of indeterminacy. There's a home, it's all tonal, by it is all unstable. You'll notice a lack of slurs and articulation, instead just the word "dry"; there is in general supposed to be lack of 'emotion', in a unuseful placidity. Let me know if this is effective or what I could do better.