Epoch

Hey guys! So I'm working on an Alto Sax concerto for a concert band. This second movement was supposed to be played by the band at my school for my senior project but they couldn't fit it into their program. I'm still working on the other two movements, but i'm wondering if my writing is strong enough for a concerto. And i'd like to know what y'all think of it in general 🙂 attached is the full score PDF and an mp3, note, some of the percussion writing on the score cannot be heard on the mp3.

Sorry the link wasn't working at first, I edited it and fixed it 🙂

Hello fellow composers. I'm a young composer residing in Cincinnati and I just finished a live recording of a seven minute suite. The suite is a combination of incidental music I wrote for my highschool's production of The Cherry Orchard. I don't know many people who could give me constructive feedback on this composition so I thought i'd come here. https://soundcloud.com/dperrea/the-cherry-orchard-suite There's the recording. I've also attached the master. There are a few discrepancies, the main one is the removal of measures 96-104. It was recorded at CCM (Cincinnati Conservatory of Music) with a couple musicians from the Cincinnati Symphony Orchestra. Curious to know what y'all think. Also feel free to ask me questions if you have any 🙂

Thank you @Dream Sown and @ilv for your kind words! Actually I recently started going back and transcribing alot of the tunes and ideas i've come up with while improvising, sort of cataloging. Not sure what i'll do with them, but it'll most likely be a catalyst for inspiration in the future. Most of the improvising is really subconscious, though I should probably start practicing more cadences and chord voicings to make it more interesting.

Hello guys! So for most of my life i've sat down at pianos and improvised. A couple years ago I got a phone and started to record these sessions. I've never really publicly "published" these recordings, but since my parents and musical friends say I should, here's one! This is one of my more recent sessions... I record anywhere from 1-3 a day! I only started taking piano lessons last year so my technique is super primitive Any advice for me as an improviser? Are these any good?

Hello guys! So i've recently taken on the task of writing a symphonic poem based on a story. The entire work (if performed) will probably be divided up into two sections by an intermission. I'd like some advice on how to develop this piece because I want it to have "movements" but it isint supposed to be a symphony. It's sort of like a ballet, without the dancing. Something akin to Firebird. I've been composing for about three years and i've always done incidental music. I'd really like to use this chance to work on developing ideas and leitmotifs and intertwining them to make a big work. So i've divided the story into multiple sections, each with movements. Each of the movements will seamlessly transition into eachother, except for the intermission point (which has yet to be determined.) The piece is based off a story from the Elder Scrolls series, about the creation of the world. This is my plan: 1: Nothing, and Everything - Before, Forever (Opening theme) - Anu, The Glacier (Anu's Motif) - Padomay, The Storm (Padomay's Motif) 2: Time is a Dragon - Akatosh, the Dragon (Akatosh's Motif) - Lorkhan, the Fox (Lorkhan's Motif) - What's Bigger than This? (Lorkhan sees beyond reality) 3: Multiplication - Our Ancestors (The Aedra's Motif) - Not Our Ancestors (The Daedra's Motif) - And Everyone Inbetween (The Et'Ada and the Magna-Ge) 4: Blueprints in Braille - Seducing a Dragon (Lorkhan convinces Akatosh to build the world with him) - Magnus, the Engineer (Magnus's Motif) - Hardhats Only Beyond This Point (The World is constructed) 5: A Wheel or Tower - Former Friends (The Daedra mock Lorkhan) - A Grand Finale (The World is finished) - End Scene (The Gods gather for the grand opening) 6: Mousetrap - Liar (Lorkhan's plan is discovered, Magnus flees) - Prison Bars (The Gods are trapped in the World) - Rat Race (Akatosh is trapped in the current of time) 7: The End of the Beginning - Trinimac, the Hammer (Trinimac's Motif) - Heartless (Trinimac tears out Lorkhan's Heart) - Spinning (Finale) Each movement looks like this "- Spinning (Finale)" and the titles with the numbers are sections. There will be many themes depicting characters, and those themes will appear in later movements, leitmotifs. Should I go ahead and plan what themes appear in what movement on paper. And should I develope all those themes and leitmotifs before I start composing? I've already done detailed planning until section 4 "Blueprints and Braile"... but I want to make sure I'm doing this correctly or if y'all have any advice for me. Thank you!

Hello fellow composers! I'm a Junior in highschool and an aspiring composer! A little while ago I finished writing various tracks for my highschool's production of "She Kills Monsters". The play ran with great reviews and of course, alot of people enjoyed my music... however i'm lacking some proper criticism. I would very much benefit from it if you all could take a listen and tell me what could be done better or what my strong suits are. I was recently asked to write some music for a video game mod, Iliac Bay: Tower of Dawn... so it would be great diving into that with more knowledge :) https://soundcloud.com/dperrea/she-kills-monsters-tiamat-epic-theme https://soundcloud.com/dperrea/she-kills-monsters-the-fairy-brawl https://soundcloud.com/dperrea/she-kills-monsters-draconian-march https://soundcloud.com/dperrea/she-kills-monsters-lurking-threats-live https://soundcloud.com/dperrea/she-kills-monsters-bugbear-battle-theme There are a few other tracks, but these are my most intricate. The descriptions hold a bit more info about each track.

Hey guys! So a while ago I wrote the score for our school production of Julius Caesar. Fortunately I was able to rehearse and record with the school's orchestra! I was wondering what you guys think of it? Pros, cons, things I need to work on or what I do well; i'd like to know! Act One: Act Two: Act Three: Act Four: