Chief

Certain music can be meant to be humorous. For example, I actually have a piece, which isn't complete, entitled, "March of the Clowns," and is obviously meant to have a bit of a humorous aspect to it. For the most part, however, music is supposed to be serious, and conveys many emotions, most of them not at all humorous.

This could possibly be placed in the orchestral works, but considering that I wrote it specifically for a video game, I guess it goes here. My friend wanted music for a battle with a witch of some sort. I really don't know all the details of it, but he said it had the perfect feel. I feel that this is the best battle music I've written so far. I hope you enjoy it. (And I don't know what the name means. I didn't come up with it) Love or Hatred.mid

Your a composer. You can write whatever you want. Your song won't be played often, but I'm sure you can get somebody to play it at least once. Just remember, if you really want to write something, you don't have any rules to abide by. Do whatever you want, and if that includes crazy instrumentations, then go for it.

I'm still young, but the favorite piece I've played so far is also the Glazonouv Concerto. The most fun piece I've played is the 3rd mvmt. of the Gurewich Concerto. I like to take that piece as fast as I can just for fun. And been playing for nearly 8 years.

I've played the Gurewich Concerto(3rd mvmt), which is a grade 6, not entirely difficult, but really fun. The Creston Sonata(mvmt 2 and 3), which is probably the hardest technical piece I've played. The Glazonouv Concerto is probably the hardest piece I've played. I'm still working on getting it down. It definitely presents a good musical and technical challenge. Right now, I'm working on Milhaud's "Scaramouche." It is a grade 7 which is overall probably not as hard as the Glazonouv, but it has individual sections which are extremely difficult. The Ibert I have seen and heard, but haven't played. I know it is a difficult technical piece, and one part has some nasty altissimo. The hardest one that I have ever seen and ever will see is the Denisov Sonate. It is a 7** and is just ridiculous. It's changing between strange time signatures every measure, and is seemingly random. I haven't heard a recording of this one, but I want to. If you want a challenge, this one will give you that and more. [edit] I forgot to mention that these are all for alto.

How is it that in a thread about the most joyful compostion, "Ode to Joy" has not been mentioned? Is it too obvious, or am I just underthinking. I've also noticed that a lot of people have mentioned Jupiter, which is titled, "Jupiter, The Bringer of Jollity," so I guess that makes sense, too.

Going from a C to a C# is a half step, while going from a C to a D is a whole step. If you have a piano at hand, it's easier to explain. If you look at the C major scale on the piano, it is all white keys. Starting on a C, it's a whole step to a D, whole step to E, half step to F, whole step to G, whole step to A, whole step to B, and a half step to C. Notice that between the E and the F, and the B and the C(the half steps), there is no black key between those notes. Hopefully it makes some more sense now.

Orchestral and Wind. Those are they styles that I always write in. I also like rock.

It should also be mentioned that in a major scale, there are half steps between the 3rd and 4th scale degrees, and the 7th and 8th degrees, while in a minor scale, the half steps are in between the 2nd and 3rd, and 5th and 6th scale degrees.

The hardest piece I've ever seen was an alto saxophone solo by Dezinouv. It's changing between strange key signatures every measure, and has absolutely no feel to it. It's completely random, and I think the second movement requires you to play multiple notes at once. I attempted to sight read it a couple times, and struggled immensely. It would probably be a waste of time to learn it, and it would be another project to play it with an accompionist. Any other saxophone players hear heard of it or seen it?

You and I are very similar Trickshot. I am also 17, going into college next year. I will be minoring in music, and taking composition and theory courses. Although I'm young and not very experienced, I feel I can still give some advice: The best thing that I can think of to tell you is that most of what you learn, you will learn yourself. The more you compose and play music, the more you will learn, whether you try to or not. Just make sure it remains fun, and not stressful. Good luck to you. :thumbsup:

As I'm also 17, I can offer some advice. Every composer goes through ups and downs with composing. I'll have times when I want to write something, but just can't, and then I'll have times where everything is going for me(unfortunately, those times aren't very common). If you really want to write something, but can't think of anything, look in the Musical Challenges and Games section, or look in the Competitions section. These will probably help fuel you up. Most of the pieces I have that I consider complete were actually written for a competition. And about the girlfriend thing: A girlfriend would more than likely help, but the worst thing you can do is start to stress out more than you need to about girls, because that can make you even more depressed. Don't worry. You'll be fine. Don't forget that it won't hurt to take a little time off of composing and do something else. There's no doubt that you'll be composing again soon. Good luck. (and don't worry, I have a much higher ratio of incomplete to complete pieces)

I like to use all three. In fact, the song I'm working on right now contains all three. The fact is, all three types need to be used in certain situations. It's bad idea to get stuck using only one type.

The main problem that I see in this is the actual "fanfare" will play for a couple of measures, than cut off, than come in several measures later and do the same thing. I think that the fanfare should be more connected, instead of being broken into pieces. This piece definitely has potential, it just needs some revising.

You have some very strange chords and tones in this piece. I did not hear the first three movements, and I don't know what effect you were striving for, though. All of the offtones and dissonance just seemed weird to me, because your melodies did not seem like the type that would have that. Besides that, I felt you had a good melody, and I could definitely hear a Road to Victory. Good work. (and as mentioned earlier, some percussion would probably help)