Ferrum

Completed piece:

Wow I did not expect this to be completed in such a short amount of time after I had posted the work in progress thread a week ago. That's a record. Though, I guess I did work on in beforehand. Still though, glad this one is not stuck in work-in-progress purgatory, just like the others... Anyways, since the latest progress, I've modified the return to the first theme, most notably, a flurry of ascending scale on b.105 followed by a trilled downward passage of the theme. This is done to kick start the momentum of the piano's spotlight on the proceeding bar instead of just the piano reciting the theme alone in the 2022 version. Another drastic change is that I've turned the passage from b.112 onwards to be a build-up for a proper, actual climax at b.118. Additionally, I've fixed the many of the pitch spelling errors and, of course, tidied up the score as well. There are other smaller changes on the piece as whole, but I'm not gonna list them here. I'm really really happy I did this revision 'cus, again, I just love the themes in this and it's worth putting it to my current musical knowledge. It feels satisfying and gratifying. Old version for comparison: Progress Thread (wow i posted only two progresses on there) Hope you all enjoyed this and lemme know what you think! Thank youuuu

Oooh I like that pedal tone on bar 9 onwards with neopolitan chords above it, heck I think this whole piece has this really nice neopolitan feel to it. Y'know, the 1st theme and the 2nd theme being G and A-flat. And I love that really recycled romantic theme from bar 35 onwards (legit gave me feelings fr). It really does contrast well with the impressionistic and lush bars before it. Not to mention the freaking modulation in bar 33 and 34 from G to A-flat. I like to interpret the quartal E-flat as to mark the impressionistic part and the sliding to E flat dominant 7, which resolves in A-flat, suggesting a traditional V-I, as to mark a more romantic approach on the proceeding bars. I like the high register counter point on bar 55 to 58 too. A nice variation to contrast the previous bars. Additionally, I like that you reference the beginning part at end the piece and then just hangs the final chord on a dominant 7 with the tonic bass to really punch in the end. Overall, this piece feels really broad and wide, and I love ittt. Thanks for sharing!!!

made the cadenza part just now

It's been a while since I've done work in progress stuff. So, in order to stay motivated, I'm gonna post some progress on this revision. I've been in the mood for doing revision of my older pieces, and I wanna rework them with my current knowledge of composition. I've mentioned before that I've been doing some rework on the Alula Variations but I'd probably put it in indefinite pause. With that said, I really love the themes in this but I felt like I could do better with the current version. I've thickened up the accompaniment, added and varied the articulations on both instruments, experimented with dynamics, added a bunch of ornaments, neighbor notes, passing notes, counter point, you name it, added more variety to the harmony, and tinkered with the registral characteristics of the clarinet and used them to my advantages. I especially liked the quasi dance-like rhythm on the current version so I've made the rhythm clearer and more pronounced on that section. I've rewritten the cadenza so it actually contains previous materials and not just some random arpeggios. Although, I've not inputted in the notes on the score yet. You could listen to it on the audio, however. Anyways, feedbacks are always appreciated, tysm. Here's the old version for comparison.

Hey dude, really appreciate that you like the style on my music and glad you enjoyed the piece itself. Thanks for the comment!

For the flute I use Symphonic Sounds (Flute SSO), for the bassoon I use VSCO 2, and before, for the piano I use Yamaha C5 but I've changed to Salamander. Thank you! The OST's theme is very sustained because it's supposed to be an ambience, so I had to get creative with the variations/paraphrases. Also, while composing, I tried to focus on juggling between all three instruments, so I hope they sound balanced. Again, thanks for the reply.

Hi, this is a side piece that I've worked on whilst I work on the revision for the Alula Variations (I love doing reworks on a 30 mins piece's score hahaha....). I chose bassoon and flute because I kinda wanted to write a chamber piece and write for bassoon. I also like the vibe of the OST. So yeah, hope you enjoy!

Travis really nails the theme here and I'm glad that I was able to expand and explore his theme(s) so that I can bring it/them to a much further potential. And I'm glad you like my orchestration too! Thanks for the feedback!

Yeaa me too! When I heard the original song for the first time, I knew that I had to lean more on the mode. You might've also noticed that I was switching between Dorian and Melodic since they're so similar. I really love the main theme. So yes, you're correct! I'm glad that you feel the same way as I do because I plan to explore more of the other songs' themes in this way, each with a different twist of course. Appreciate the feedback and thanks for commenting!

Hello! This is the "vocal piece" that I was talking about! Its for soprano, string quartet, woodwind quintet and harp. Of course it's going to be a full song cycle in the future, but as of right now, this is the only one that is finished. For context, most of these songs are going to be from the series "Dark Dice" (by Fool and Scholar Production). However, I am planning to do original compositions on the texts from the series as well. As for this song, it is one which a character (Glom)'s mother used to sing when he was small. It is used in a scene where her sister (Gaelle) started to sing the song in his mind through a spell as he was starting to sleep. As always, I appreciate the feedbacks and hope you enjoy.

Hello! The piece does a great job at making me feel uneasy. The droopiness of the theme and the downward staccato notes really do it for me. However, while I do feel the emotion of sorrow and depressed, I feel like it leans more to the ones of dread or anxious, especially with the staccato notes. Another mood that I'm feeling is wandering. It does keep me on my toes. I suppose the short dissonant brass notes is supposed to be a climax. However, the build up made with lone xylophone line accompanied with the double basses and the orchestration of the climax make it hard to feel anything other than dread, terror, or horror. I feel like if you want to "tease" the tonic, one way, in my opinion, is to use more traditional chords or cadences and play with expectation, because the context of this feels more like atonality not so much "wandering" where the tonic is. I do like the build up on bar 37 for the flute solo starting with the lone quarter note bassoon. Very uneasy. The flute solo on bar 49 I think does the greatest job at conveying the emotion of sorrow. You did great job with the sparse orchestration! The ending, to me, feels final, with the descending lines of clarinet and bassoon, and the final duo between the double basses and bassoon really nail the punctuation. I also like how you rarely used the double basses and saving it for some important moment. The basses feel very salient in those final bars. Overall, I feel like I'm trapped in an underground mines with a caved-in way out, your fellow miners have gone insane, and there's a lanky monster nearby (definitely not from a plot of an audio drama series that I've been watching lmao). Thanks for sharing!

Toreador march was a prominent theme in FNAF, and it is infact not just a quote for this piece. The first 4 bars, the main theme of the introduction, is built/just variation upon that. Funniest thing? I did not quote anything outside the theme list lmao. 18:50 is a development/variation of bar. 159, it does seem familiar though. I think the theme lists showing the actual themes in different staves, not just a list, is a good idea, never thought of that. The thing is that the purpose of this piece was to share it to the Fanverse community first. I was gonna make a video about this, upload it to YouTube, and share it with the community, but the scoring of this took way too long and I had already burned out. So I changed my plan and decided to upload it here, get some feedbacks, and then maybe some time in the future I'll actually make the video. I did notice that it really relied on knowledge of these themes, hell, I had even realized that this contains just TOO MUCH THEMES mere days before I went to the scoring and polishing stage. I really didn't wanna waste 4 years of effort so I just went on with it. Should've just chosen like 3 themes from the start, but then again, this piece had the community first in mind. Funnily enough, I was going to include "Medley" on the title, but decided against it because I want to alliterate the title and pair "Fazbear Fanverse Fugato" with something, so I chose "Fantasy". You could had actually seen the previous title before I posted this topic in my "about me" section. I haven't checked and commented on this website as often as I used to, before posting this piece that is, but I'll definitely consider checking that once it is done! I've tried to give some sense to this piece by repeating the themes over and over again before entering/introducing new themes, but I do agree that it is a bit haphazard. Thank you! Hopefully it doesn't spiral out of control and turn into a "mess" that is this 35 minutes piece, lmao. Overall, a bittersweet feeling. You know, actually finishing a 35 minutes piece WITH score and engravings (with some errors STILL present, argggh), and you ended up feeling meh afterwards. Oh well, at least I've started a more simpler vocal piece to ease up the slop. Thanks for the feedback.