sned

ofc, here it is, lmk if there are any issues

saw this a little late, but still managed to get it in a couple days with something im happy with. definitely leaned into more of a scary atmosphere rather than a lighthearted scare that halloween probably merits, but im not good at that sort of stuff, so i thought i would lean into using orchestrational-ostinato to create a brooding atmosphere. hope you guys like it!

holy crap! it's not everyday that you see such a masterfully written counterpuntal work based on, of anything, fnaf themes! as an avid fnaf fan and a passionate composer myself, this really tingled every spot in my heart. it's really really good, you display such a great command over harmonic tension, and especially the use of counterpoint for tension, really great stuff. admittedly, i only got to the piu mosso at 181, but dont take that personally, i happened to see this at 11:30 pm, and the only thing i can get more than 5 minutes into is usually anime, minecraft args, and fnaf theory videos, so you've basically already passed the average bedtime attention span. i fully intend on coming back to this and listening to the whole thing, but so far, really good stuff!

p.s. the return of the scherzo's theme is supposed to be what starts at the end of the scherzo wip2.

hi everyone, long time no see! been hard at work at this new scherzo that im writing, definitely a challenge. ive always had trouble with writing pieces that are fast, so instead of warming up to it i decided to go all out and write a piece with tempo dotted quarter = 210! so far, im having a lot of fun with it, largely experimenting with ostinato and seeing how far i can stretch it without it becoming uninteresting. also experimenting with the art of the unexpected turn of character (i considered calling it the disillusioning scherzo, but im not sure how i feel about it). i have attached the main files (marked scherzo wip2), but for fun if anyone is curious where i want it to go, ive attached a rough sketch of the transish into the trio, a bit of the trio, and the climax of the trio (all marked Scherzo 的 Trio wip1) and the return of the main scherzo tempo (marked scherzo return wip1). those will all eventually make it into the main scherzo file. while i think its going pretty good so far, that could be my hopeful side talking, so i decided to post it here and hopefully see what you guys think! thanks in advance!

i hate to double post, but i thought i should include the new youtube video and edited/refined score of this piece. thanks to @PeterthePapercomPoser for the name!

thank you so much! it means so much to me, probably one of the highest compliments ive gotten on a piece of mine. im really glad you enjoyed it, feels like my hard work has been put to good use.

yeah, via the title you may gather that i have not decided on a name for this piece. i may say that ive been working on this piece for half a year now, but in reality it's been about 4 years since i began work on the piece. i initially started backwards, writing the coda section, but i wrote it as if it were the beginning section, but sounded very much like a natural ending to a piece it just didn't really work out, and for all 4 years, i had been working, actively and inactively, on trying to find out how to flesh this out into a full work, until i had the fantastic idea to stick at the end of the piece and figure out what comes before it. it's the first time i've ever worked "backwards" on a piece, but it's been quite rewarding, i very much enjoyed figuring out how to connect the themes of the end to the rest of the piece, and the joy of finally being able to use that piece i wrote four years ago is a sense of joy that's not very easily put into words lol. but anyways, open to criticism, specific and general. feel free to access the kinda rough and ready score i've provided, there may be a bunch of errors, but anyone else who's able to offer engraving feedback please do!

Very nice ideas so far, love the use of percussion and especially horns. My only concern is I'm not so sure giving all those repeated sixteenth notes to woodwinds is very effective, it's not particularly easy to play and it does sound somewhat choppy occasionally. I would let the strings continue that constant motion, while just giving the note changes to the woodwinds. One more thing, in the pick-up to measure 9 and forward, I wouldn't give the melodic line to the oboes, as having the horns play at FF will most definitely over-power them, maybe even the violas, but that's for you to decide, in case there's a different texture you're trying to achieve there. Overall very nice, very great start you have here.

So sorry, I had forgotten to paste the YouTube video. I have edited the post to include the YouTube link. I am not sure what you're referring to by 8m, but I think I understand. The staccato markings do not contradict the tremolo, as the staccato markings are in fact not to be played as staccato but as spiccato. That's how I chose to notate it without adding a bunch of sixteenth notes, because if I had seen that in a score as a string player, I would not be confused on how to play it. Hope that clears up any confusion.

Probably the first full-fledged large orchestral project I've taken on. The initial inspiration for this was prompted by a discussion about variations on themes, and when Zulaski Kaitzo mentioned Dies Irae, the idea was born. These variations were also heavily inspired by the Variations on a Theme by Paganini by Boris Blacher. I began work in early October and finished in around a month, working pretty constantly without break, as I was very passionate about this and I seemed to be able to quickly come up with ideas for the next variations. When I had no more ideas, I knew it was time to stop and compose my final variation. In this piece, each variation carries a meaning behind it. While I did begin each variation as purely musical, they turned into different variations and conceptions of what happens after life and what happens in the moments before it. Each variation proposes a distinctly different idea of what death could entail, the meanings of which I won't explicitly reveal, leaving it open to your interpretations for now. The last variation is a musical representation of my personal outlook on the concept of permanent rest. These variations are somewhat divided into separate sections, marked by the toll of a bell. This piece starts and ends with the bell. This was written for a symphony orchestra, though most variations do not utilize the entire orchestra. Would love your opinions on it.

wow this is actually really great, you clearly have excellent control over how you use harmony and sequences to develop rich tension in the piece that just feels so nice to be resolved. your use of very thick orchestration but at very minimal dynamics really works at making a thin but meaningful texture, at least with the soundfont you've applied. im not fully convinced that a wind band would be able to pull off the thin texture properly but im sure with a good enough ensemble it would work well. im excited to see the full version of it, if im reading what you said correctly, i'd love to see these ideas expanded upon much more, especially that trumpet solo in the end with the moving clarinets and light trombone accompaniment.

This was a small project of mine, initially started because of this competition I applied to (which I never even did), but heavily influenced by some things going on in my life that really affected me. (btw I'm a violinist, so I made sure all the nasty string crossings were possible to transition from one another and to play relatively cleanly)

thank you, do tell me what you think of the other movements if you get a chance to take a look at them!

thank you very much! the formatting of the parts did worry me initially, but i think that's an easy fix, since it's just changing the dimensions of the page.