Misha

This is finished draft of a song I would like to have heard and commented. I never finished the orchestration of the full version. Hence I am posting this draft. Orchestra you'll hear here is: Vibraphone (one voiced reduction of choir section), fantasia (GM 88), a guitar, a bass guitar and drums. Original orchestra involves five voiced choir, piano (instead of fantasia), and a larger mixed rock/symphonic orchestra. The form is I + ABA + CODA + I. I = Intro/Outro. Song

This is work I've written back in `97. Nothing out of ordinary. A piano quintet work presenting a kind of modern variation to the minuet form. Minuet

Thank you very much for the response. As it seems, it is better to avoid setting this task before a single violinist. Since the original work is a piano quintet, a better solution would perhaps be to dump whatever violin II is doing and to divide this on two violins.

A Fantasia for Symphony orchestra written back in 1999. Free form. Several motives appear in different forms. The title and the content describe the state of intoxication by emotions and their moodiness rather than intoxication by alcohol. :P Visualization (MAMPlayer) of this work is available on youtube, as: Intoxicated Fantasia

Alright, I might be on way to post in a wrong place, but I trust mods will be glad to move this if I missed the thread. I would need a violin to do this in 78 1/4 bpm: (an repetitive array of ab2 ab3 ab2 ab1 in 32nds, then g's and f#'s etc) But am unsure whether that counts as generally possible. What do you think?

This loop was inspired with Duke Nukem Grabbag. It is not the same, was just inspired. :) It is also a minor work for two pairs of electrical guitars (4 in total), a piano, a bass with bells (synthetizer), a string section (synthetizer) and drumm section. Created in July 2001. My 'Grabbag'

Sorry for being somewhat off, but I am *he*. It is just one more Slavic nickname that is actually feminine in Germanic languages` space, but is generally given only to boys here. I expected somebody would argue about the baroque classification. :) I myself am not expert on the field of classification, so I can only listen to what others say. :) I can agree it doesn't sound like one of Bach's or Handel's works I've heard, but the Madman's line of thinking does pretty much correspond to mine. None. I didn't feel like I needed it for this work. You can think of it as of a small piece that can be also played on an organ.

A piece for a string ensmble. Generally, there are three groups of instruments (Violins, Violas, Cellas) of which some occasionally split into more than one voice.Arch form ABCBA.This is a minor piece, I post it more from curiosity whether I will get some comments than to impress anyone. :) Piece for String Ensemble

Hello here again, guys. I just wanted to inform you that I visualized there excerpts with MAMPlayer and uploaded them to youtube. : : The second vid got desynchronized somehow from its half. There was no way of making myself to record the vid again. :)

I am interested in comments on this form. I can't put it specifically to nowhere, but hey, it is long since I lastly read a book on musical forms.Actually, how do you (not) like this work?The recording was made years ago, on SB Live! with its standard 8MB SF. So, the sample quality is lame. Be warned. :) Dawn at 15,000 m over Barents Sea

I definitely liked it. However, some parts are getting too repetitive for my taste at times. This might pass absolutely unnoticed in case you added some lyrics.

I like it too, but somehow I get feeling it can be brought to ever higher plane and thus be much more thrilling while keeping up to the point.

Offtopic: Oh, momma, can I really get the same sort of critics when I upload my scores? :cool: Should consider posting them. To the topic: Generally, it sounds fine. Reading that you actually didn't care if a real orchestra can play it, I have to mention that you shouldn't really care -- as long as you do not intend your work to be played by a real orchestra. I just want to encourage you in case you want to go the way of creating new sounds of existing instruments. Even if they cannot really produce them, a computer still can. Go on, experiment, if that's the way you feel.

Definitely I do not plan on expanding it any further. Here the SF is what did the most of the tricks: GIBSON_LES_PAUL_DISTORTION.SF2. I had idea of planets and the stuff in the intro screen. :P

This was another experiment, concerning intro screen of a SF game. Normally, it would have been longer and able to loop, but hey, this is just for testing purposes. :) I am interested to hear what you think of this one. Space echoes

I actually like it very much. 10/10.

The piece is ok, and the timing of the intro coincided with my expectations exactly. So it is with the timing of the most of this work. What sounded really needless to me is the ending since 3:58. Very unnatural. Ok, put there something, but make it be more in tune with the rest of the work.

Another work made in 1998, for a string orchestra. The form is ABA, and the work is mainly built on fugal imitations between the groups of strings. There are eight groups of instruments in total. Seagulls

Hey, thank you for the critics. :) You are pretty right the work needs tuning in order to get a really fluent sound. I think it would need better SoundFonts too. But I am still not removing that sitar from 0:07 to 0:19. :) And you are definitely right about the strings, I know what part you're talking about even without listening to the recording. For all my works I use an old Finale.

This one you may consider to be a stand alone piece, regardless of its length. No more than this has been actually written since 2004, when I wrote this small work. Regarding my motives for writing it, I was actually experimenting with some 'maybe' materials for a computer game. From the oddities, I might mention a sitar leading in the beginning. The actual orchestration involves: strings, a soft electric piano, a sitar, two electric guitars, timpani and drums. From synthetic instruments, there are: square wave emulator (easy to hear at some parts), and so called FX 8 (as an occasional shadow of the sitar, GM 104). Action

This one intrigues me to listen it more than once or twice. I could hardly rate it soon however. Why is there no "Like" button?

Well, I do like it.

I may be not understanding the concept of commissioning. Is that actually selling your work or letting it be used in commercial purposes? Sorry for this one being off the topic.

Thank you all for taking time to listen and comment. :) I agree completely that most of the samples I use have very low quality. The both excerpts were recorded at least six years ago, and I do not have much better samples even today. A thing that can help overcoming that obstacle is to imagine how it all would sound with a real orchestra. I do have feeling good samples would be a real boost for the entire work. I won't post the whole work yet. It is not finished in the first place. Secondly, this work is intended to be much larger than standard symphonies. I tried to evolve and deeply explain the both subject groups before facing them in the development section. At this time point, I could post only the 'exposition' and the very beginning of development, which takes almost 16 minutes. > what instruments do you have in your score? On the samples posted there are only classical instruments. Strings (harp, vlns I/II, vlas, cellos, dbasses), woodwinds (piccolo, flutes, clarinets, oboes, en. horn, bassoons), brass (fr. horns, trumpets, trombones, tuba), acoustic guitars, organ and percussion (timpani, cymbals). There are also a harpsichord and a piano. They never play at the same time, but are both needed at certain parts of the work.

These are two excerpts from my Symphony no. 2. Both are taken from somewhere inside the work, so that would be the cause to any inconsistence: These two excerpts are not made to sound like stand alone pieces.The first excerpt represents the second and the first subject group (in this order). This is place in the work, where the two subjects show their inner self. Previously, during the standard exposition, they have shown only how they represent themselves from the outside. This is how they really feel and what are their real intents for the coming events within the work.The second excerpt is a short reminiscence of all most important motives that occurred within the work, at its point.The samples are recorded on SB Live! with Creative's 8MB SoundFont. Symphony no. 2, excerpts