sned

thank you, im glad it did what i set to do!

also if anyone is interested, i just published the youtube video. decided that "sorprendente" was the word i was looking for, add to the irony of using an italian word to fool english audiences into sophistication, if it ever gets to that point. all just for fun!

thanks for the reply, im glad you found fun in it! i do like being ambiguous when it comes to writing music, makes it more fun and is quite freeing, but you correctly pointed out, i do love myself some good movie music. perhaps it is neo-romanticism after all, though i do often enjoy myself a healthy dose of contemporary music! ah, maybe thats something to leave to the listener to decide then! i definitely took it... how to say, seriously unserious? had fun but made sure something was happening, you know? im glad you thought so! a big challenge for this was really finding that balance point between keeping the energy going but not tiring the ears, to not sound monotonous and boring. i often found this through experimenting with different colours, especially in the middle section. i was worried about it sounding monotonous, but i just trusted my gut and played around, and i was pretty happy with what turned out!

thank you for your response, it means a lot!

as the title suggests, for 4 months (pretty much exactly) since july 1st to yesterday, ive been working pretty non-stop on this scherzo. it has been a crazy ride, full of adventure and auto-pilot composing. many times where i just composed without thinking, and somehow it resulted in something good, maybe i should hone in on that... anyways, this was a lot of exploring uncharted territory for me. for starters, this is the first time ive ever composed something this fast, in terms of tempo (ideal tempo is ♩. = 210). used to sticking to my slow tempos, always found them easy to write in, but i thought i would use this opportunity to push myself. the other thing is ive never written a piece so non-linearly. i started the piece by writing the first 46 measures of the tempo primo after the slower trio-esque section (which i will from now call the trio). then i moved to the first fast scherzo section, in the middle of which i began writing the beginning and the final climax of the trio. sort of near the end of the first fast section, i wrote the final 21 measures of the piece. after that it was completely linear work. im definitely warming up to that process, it's the second time ive used it for a major piece of mine. all being said and done, 4 months, 1096 measures, and 17 minutes later, ive finished my scherzo (my longest purely developmental piece yet)! a big inspiration came from suk's scherzo fantastique and the scherzos from shostakovich's 6th (i think the 2nd mvmt counts as a scherzo) and 9th symphonies. generally, the point of this scherzo was to have lots of completely unexpected but natural things, and a lot of jokes, and to never take itself too seriously. even the slow section is, at least the way i look it, light-hearted, not deeply emotional or intense. i am EXTREMELY proud of this piece, though this is before any cleanup and editing, still have that adrenaline rush and love eyes/ears that come from finishing a piece lol (though im open to feedback of course). would love if you could take 20 minutes to listen to it, i hope you enjoy it as much as i enjoyed writing it!

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.