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Symphony Number 4 [Original Composition]
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- čas přidán 16. 08. 2024
- Here's a link to the score on musescore:
musescore.com/...
Trying clickbait so that people will click the video. That is all true though. I'm also 20 now, sadly. Time flies. I learned piano at my church when I was 12, started composing at 15, and have written over 250 compositions since along with learning cello, bassoon, and violin. That being said, I'm actually a photojournalist. The extent of my music training was winning a scholarship that let me take fulltime music classes on top of my fulltime art classes at a community college. Mostly theory stuff and some piano lessons. I was taking 8 classes for two semesters. It was fun. 🙄
This is a culmination of a lot of work. A lot more work than normal. I have deleted more bars of music than I think I have ever deleted for a single piece. So, many failed attempts and failed motifs and ideas. There are probably like 20 3-minute long recordings on my phone of just ideas. And then shuffling through all of these and reworking things and re-orchestrating things. This has been, by far, the most tedious and time consuming and frustrating project that I have ever begun.
That being said, I have mixed feelings about it. I'm probably going to continue to make small changes to this, while mostly maintaining the general structure that you see here. But over all, I am pretty happy with what I have produced.
The first movement, which out of all of them was the easiest to write, came naturally to me. It was relatively straightforward to orchestrate, and aside from experimenting with trills, brass registers, and solo parts, nothing was really that challenging for me technically. From a harmonic standpoint, this movement frustrated me like nothing else that I have written. There are two central motifs of this first movement. The first motif, which continues to appear throughout the movement I treated more like an opening motif than an element of the symphony. So, it's use in development of the piece, for the most part confined to the first movement. The trill pattern that accompanies it is alluded to in the fourth movement and I believe the third as well. The second motif is the interesting one that forms the dissonant chord cluster. This essentially becomes the central motif of the entire symphony and is alluded to, at some point, in all of the movements, to add to the cohesiveness of the piece. My frustration came about after like two months of trying to write something that was even close to as good as this movement was. I was having a serious writer’s block.
The second movement is very self-contained. It has essentially one motif and it builds to a very specific point. There are some interesting chord progressions, which is honestly the only reason that I kept the movement instead of shifting gears. The diatonicism of this movement becomes a source of contrast as the piece continues. I did however slip certain motifs from the third and fourth movement into the inner workings of this movement, so if you really want to look for Easter eggs, this movement has a few.
The third movement was actually composed last. I was struggling with this movement because originally I was writing something that I didn't like. I actually don't remember what it was, but I ended up deleting it out of frustration. Then, I started writing an idea that was heavily inspired by the beginning of Korngold's violin concerto, which if I had dedicated more time to, might have been a viable solution, but I'm not sure whether it really would have gone. Anyhow, I completed the fourth movement recapitulation and in doing to came across this chorale idea for the French horns that I found interestingly chromatic. So, I decided to develop that into what is now the third movement. Slight changes in orchestration will probably eventually happen, especially to this movement.
The fourth movement is by far my favorite, and I didn't think that I was going to write something that I liked better than the first movement. But I'm really proud of what I made here. It's built basically off of extended harmony around minor7b5 chords, which produce an ambiguous sonority that allows me to experiment with tritone substitutions as well as some unusual cadences. This was a fun exercise in orchestration as well. If anyone is a percussionist and can tell me whether the part that I've written for glockenspiel is even playable, I would greatly appreciate it.
As always, I need your feedback. Suggestions, critiques, and I suppose complaints are all welcome. I feel like someone's going to take that seriously. Oh well. (Thanks so much to those who've already made some suggestions. I've made quite a few improvements already because of them.)
I. Quasi Adagio (0:00)
II. Allegro Molto (7:46)
III. Lento (13:57)
IV. Moderato (20:41)
#justiceforsalieri #music #classicalmusic #symphony #contemporaryclassicalmusic #originalmusic #minor7b5 #orchestra
I. Quasi Adagio -- 0:06
II. Allegro Molto -- 7:46
III. Lento -- 13:57
IV. Moderato -- 20:41
Took me a minute to figure out how to add chapters to a video. The next question is whether I can edit my score, make a new video, and essentially update this video, or will I need to upload an entirely new video?
@@etc.-1912You're allowed to edit very little of the videos you've already uploaded. I suggest you keep this one (don't delete it) and upload the new one
This is very nice. I find it very original while using a very tonal language-very individual ebb and flow of tension. Completely unpredictable. From about 18:15-19:30 quite lovely. I love the ambiguous finale...reminds me a bit of the ending to the Sibelius 4th. Bravo.
Thank you. I definitely took a lot of inspiration from Sibelius and Buckner. When I finished my third symphony, I remember feeling like I hadn’t really written a lot of music, so I listened to a lot of Sibelius and Buckner to see how they did their development. Thanks for listening!
Fantastic. I thought it was a real orchestra until I read the comments. I paid about £9000 for a real orch. and I find this almost as good. Lovely piece !
this was ethereal. hopefully someday i'll hear this symphony live
That’d be awesome if it actually got performed one day. Thanks for listening!
It sounds great, really beautiful. It's accessible and easy to hear a story throughout which I really appreciate. Thank you.
It's really really awesome!! I like it so much. As a composer myself I learnt a lot from your compositions, I'm so grateful I found this on yt. I like the 3rd movement the most.
The third is my favorite too. Thank you for listening!
First, kudos to your amazing journey as composer!
I’m a fellow composer and have been writing for about 10 years now…wow time has flown. I always love listen to new composers! I think you a great voice and clearly you love to write so keep that up.
Now honest critique time. Having learned from myself a lot, I think I feel your pain when you say sometimes you feel frustrated in the way you write. I’ll say this, when my help are a couple things here.
1. Transitions: you clearly have a lot of ideas when you write, and that’s a good thing, but sometimes sections just seem to start and stop one after the other, and if you focus on, maybe using an instrument to guide yourself to the next section, or use crescendos and decrescendos, to help section flow together, it might give you more cohesive ideas when you write as well.
2. Voice leading: i’m not sure how much you know about this, but it’s just pretty much knowing how linear melodic lines flow together, that will help tighten something up too 👍🏽.
If you want to reference any of my pieces, I specialize in symphonies and whatnot so I’m always open to feedback and questions as well.
Other than that just keep building. I definitely like where you’re going and can’t wait to hear my stuff from you. Hope this helps!!
Hi, i am also a composer, but a very unexperienced one (I only started for 6 months). Could you please stop by my channel and give critiques of what i should change ? I find critiques like these are really usefull, and it would mean a lot if i receive opinions from an expert. Thanks a lot !
As another fellow composer who lacks experience, could I also receive feedback
@@kenechismusic7288 Sure thing give me some time to look at your works!
Very niceeeee! I love the Scriabinesque sound in the fourth movement.
I saw musescore has some problems with the playback of dynamics. If you don't want that to happen, you can add some invisible crescendos and decrescendos before a dynamic change so it doesn't pop.
Very good work.
I like that you wrote the third movement last. I like to start my symphonies by writing the second movement first and have done so a few times. I enjoyed your symphony very much. Nice work! I also liked the ending. I always struggle with that.
It makes send if it's going to be a fast movement. It takes me forever to write fast pieces in general. They're just not my cup of tea. I like the slow sad stuff a whole lot more, so if you let me I think I'd make all of the movements kind of slow and plodding. 😂😂
On voit tout de suite que c'est un pro. Ca se voit en le lisant, ça se voit en l'entendant.
great symphony and great music, here is a future great composer!
Beautiful...Thank you for sharing. I love classical music.
Me too! Thank you for listening!
dang! It's beautiful and shocks me is that you're 19!?
I'm 17 years old and practicing composing 3-4 minutes orchestral music track without proper knowledge about music theory. You are very inspiring with that work of yours, keep it up!
Hi, nice work, rally beautifull. Just curiosity the playback is from musescore??
Yeah. I don't really know how to do any like production stuff so I just use the default musescore sounfont and just tweak the playback volumes in the mixer pannel.
It's a nice piece. Congrats
@etc.-1912 It sounds amazing for something out of the box just from Musescore!
I really enjoyed it! if I could say some things it would be:
When the string has melody and brass has harmony, brass at same level of dynamic as strings will cover it. I suggest one dynamic less in this scenario.
I see that this witten with pairs of 2 for brass and winds. It is a bit unusual to have 3 clarinets and bassoon out of the blue when the other instruments and their auxiliary being a doubling.
This was a really delightful listen, with much beautiful music...that harkens back to the best of the romantic era in a package that feels reasonably unified in effect and well-structured.
1st movement; a bit French impressionist at the start; there is the oscillating up and down motif culminating in that tense climax...it seems to then evolve and finally at about 4 minutes in it really opens into a full-fledged melody. It has the feeling of having been rather intuitively realized. It is very well done. Also reminds me a little Gershwin very remotely...a definite American sound.
2nd movement: this bears the imprint of Brahms or even Tchaikovsky...but it also has a romantic sound that seems to have come down from Wagner...
3rd movement again reminded quite a bit of Wagner's Tristan at the start...but almost a more innocent Delius kind of sound. Quite lovely...with a very heartfelt build-up...the ending feels more Brucknerian.
4th movement: The French impressionist feeling returns here at the outset; very mysterious and shimmery...quite beautifully orchestrated. It has a marvelous lightness...very different in texture than the other movements...in many ways the most inventive mesmerizing of all the movements.
Overall: Very easy to enjoy... intelligent and listenable...Most everything makes sense and the structures are discernable and well-rounded. Behind it all is a sound and voice that is emerging...while the range of stylistic referents can create an impression of a kind of survey or pastiche feeling.
Thanks for listening and for commenting!
@@etc.-1912 Listened to your video with your comments on the finale....I see now that you had Scriabin more in mind than the French...but I think it traces back to Debussy.
Areas that I'm looking for feedback:
1. I don't know a whole lot about glockenspiels, but I feel like the Fourth Movement glockenspiel part would be pretty difficult, if not impossible.
2. I know that the harp part is playable, but I don't know how difficult it would be. If you're a harpist and want to take at it, I'd appreciate it.
3. The contrabassoon solo that goes down to the low Bb in the fourth movement! I play bassoon, not contra, so I know that that would be quite difficult an octave up for bassoon, and I assume it would be for the contrabassoon too. Is it playable?
4. The timpani part in the fourth movement and elsewhere. I'm still not sure I understand the timpani's abilities, and my solution in the past has been to score very conservatively. But my fourth movement is challenging for basically all of the instruments (the fast string arpeggios for instance.) I'd love to know how I've done with it.
5. Otherwise, I don't really have any questions. If you see a concerning part, let me know!
So I reviewed some of these parts so I can give you my 2 cents.
1) I think the run up parts in the glockenspiels are a bit difficult to play, but the triplets afterward are okay.
2) I am not a harpist, but it looks fine to me. I would just watch how much it would stick out compared to the orchestra. I typically just turn down the harp a bit in the mixer to make it more realistic.
3) The Bb in the contrabassoon should be fine, you just need a skilled player to play it.
4) Timpani scoring looked fine from what I saw except for maybe at some points tying multiple measures (unlikely to have the pitch ring that whole time from one strike of the kettledrum). My rule of thumb is no more than different pitches at a time for a passage. Indicate different pitches whenever there is changes before a passage while giving the timpanist enough time to change the pitches.
Nice composition!
@@briantorres3559 Thanks. Yeah, I was aware they probably wouldn't be audible. I left a little note on there that said "let ring." This was initially just because the orchestration used to be more sparse and I forget to revisit it. I'm glad that you pointed it out. Thank you so much for the thoughtful comment and for listening!
Really nice, beautiful, the starting brought to my mind Satie - Je te veux. That’s the same age Lili Boulanger won her Prix de Rome competition. It wasn’t too clickbait, couple facts and I’m in curious enough. For me the 1st Mvt. had the most unique draw with its strong motives and relaxing treatment primarily, because I feel it sometimes comes down to, loosely speaking, beating the old guys at their game, and when we want to even try, but if you have your own game you don’t have to-and sir, you did in the first Mvt. Here again in the Lento I like and you seem so far to me to have shined in the slow movements, or is it just my inclination of taste, and perhaps moreover what our rushed age more demands?
It was interesting and valuable to hear about your many points of frustration with the project this was, and that has dissuaded me from taking on a massive project I was in two minds about embarking upon, of a similar order.
4th of course reminded me of Scriabin’s Prometheus severally, uh but you didn’t mention that…. awkward 😅
The ending did not seem sufficiently conclusive.
lll. Lento it's a master piece, tragic, strong, inspirational 😊 all the work it's great, but the third part it's awesone 😊 congratulations
Thanks. It’s my favorite movement, and I wrote it to my surprise, all in one day, because I was having trouble coming up with ideas at first. I always feel like ideas that just come naturally are better, but there’s probably not a real correlation other than the way it makes me feel. I really thought I was going to have more trouble with it than I did though. Thanks for listening.
and for the people who feels envy, try to do this come on!
There's some very impressive stuff in here. Bravo!
ALSO THIS IS AMAZING
I like this part very much 18:00
Just amazing, Congrats on finishing it
Thank you! 😊
Wow, excellent work! Impressive.
Thank you for listening!
Very impressive work! I'll have to give it a second listen now. 🙏
Thank you!
Enan, this is a great work! It's difficult to make suggestions because that has always to do with one's own preferences. First and foremost: I really enjoyed your symphony. That is of course what is is all about. At some points you use a lot of instruments and in this rendering of the piece some instruments can't be heard properly - is a pity. Please continue writing you have a great talent for it. Thank you for sharing! And I wil follow your musical work of course!
For some reason, I can't figure out how to get trombones and trumpets to really work in musescore when they're playing pianissimo. I'm sure there's a way to get them to sound better than what I've gotten. But I'm not that great with musescore's mixer pannel, tbh. 😂😂 Thank you for listening!
Good job!
That is so beautiful and breathtaking... Also heard some Stravinsky in strings and woodwinds)
But love your piece very much
Thank you for listening!
Very beautiful ❤❤
The motion is graceful and smooth, not artificial...
Melodies come and go easily...
Thanks! I was really trying hard this time to think about a larger scale of things and not just the individual sections and ideas, so it's nice to see that you think things flow together. Thanks for listening!
@@etc.-1912 yes....there are lots of great symphonies...but if listened on a larger scale , as a whole Tchaikovsky 5th comes first in my mind...each instruments and section blends seamlessly, as if he wrote it in one hour...
@@clearbrain I know! It's such a contrast to the sixth which has this break between the third and fourth movements that I assume was deliberate. Obviously the form is very untraditional, so that's likely partly why. But I feel like it contrasts the natural flow of the fifth which feels like a long walk through the woods. I am a sucker for the third and fourth movements of the 6th and the horn solo from the 5th. Those two symphonies are absolute masterpieces. Very addicting. 😂😂😂
@@etc.-1912 very good observation
If i had wrote it, i would never torture the public with it as you did.
And than?
Very beautiful opening movement. Nice to see how the second movement developed. I don't think I have ever heard you take on this post-romantic era style before with being unusually diatonic from your usual style. Very well enjoyed overall.
My only thought would be the ending in my opinion, which seemed to be too short (or lack climax) for a half-hour long symphony to sound complete.
I hope this helps!
Thank you! I totally agree about the ending, and that's high on my bucket list of things to change. Also, did you change your profile picture or just like crop it more tight?
@@etc.-1912 I cropped the original image for a good profile picture change, mainly for this account. :)
1.3K views!? How? This is so good to the ear! You deserve a lot more views!
Thank you!
Nice
Nice, I really enjoy the harmonies and the light but full sound of the first movement. I want to give some more specific feedback on the middle part of Quasi Adagio (Numbers = Measures):
75-82: Really like this section!
87: I wouldnt write a silent B clarinet section that high, its shrill and hard to control. I would use Eb clarinet
99: Same thing with notes below d1 on the saxophone, tenor sax might be better
106: Is that spice really intentional? There are sounding D, D#, E and F all at the same time
125-126: I would insert a decrescendo, but maybe the loud orchestra doesnt overwhelm the clarinets and bassons that much if its played by a real orchestra
Yes, the dissonance with the stacked notes was intentional. I was surprised that nobody really noticed it. I’ll look what I can do with the clarinet and sax registers. I have an unreasonable number of instruments already, so I’ve been trying to swap instruments around. Generally, if the flutes are free, I tend to like to give them the shrill stuff. 😂 Also, I wonder if the bass clarinet could pick up some of the slack from the alto sax. Don’t really remember what my orchestration was doing in those places. Also, I probably should add a hairpin or something. I tend to just think pianistically and assume that everyone is just going to do their thing anyways. But in an orchestral setting that really doesn’t make sense. Thanks for listening!
No problem! I didnt have the time to listen to and look at the rest yet, but I will do and share my thoughts. As a Sax/Clarinet player, its interesting to see people with piano background orchestrate music by the way, its a whole different style!
@@etc.-1912 Movement 2: I overall like the dynamic changes really much
Beginning: This is not wrong in the notes, but the ff playback is very brass heavy. Maybe adjust in the mixer of insert invisible f in the horns and co right after the ff. Also, staccato playback by musesounds is obviously awful, but not the composers fault. To make good sounding audios, i remove the staccati or split off every second note and give it to a second voice and undo the changes after i have my mp3.
184: The soprano sax will be very hard to play for the reason i mentioned before
212+239: Really nice register voicings!
273: This sounds pretty cluttered, if thats intentional thats perfect. But I would create much larger interval gaps in the low notes (under around f0), at least fourths in size.
Movement 3: More nice voicings! Especially in horns! Overall, I would say that many instruments have too much spare time. Of course, this is a thin movement in a lot of sections, but e.g. in 354, I would let both flutes play. In 352, I suggest giving both oboes the triplets (especially since these are the first fast notes in the piece, sounding like a mistake if played insecurely).
Movement 4: 486 sounds really nice, and in this case I think it is definitely the right choice to give the quick notes to one clarinet only. Overall, I really like the work with the Glockenspiel, where it supports the lines and where not. Until before the end, I thought the high amount of themes and atonality would be too much, but the reprise at the end ties all this back together. I still think that a bit less thematic jumps in the last movement would help the coherence, however.
Overall, I have to say Im nitpicking a lot of stuff, especially since I never wrote such a long piece myself, and if I didnt mention something, I probably liked it very much (i have an affinity for criticism for some reason). I hope I could help you without sounding like a jerk and im looking forward to your opinion
@@Alexander-oh8ry Thanks so much for the comments! I've been reediting this over the past few months, which has been rather slow because I've been kind of unmotivated, but your comments have really been quite inciteful. You pointed out some things that I'd never really thought about, especially when considering how instrumentalists come in. I've been really reevaluating when I should double and when it's unnecessary, because I feel like I often have unnecessarily heavy orchestration sometimes, which can lead to me not adding enough layers because I feel like I'm running out of instruments. 😂😂 So, I've been going through and trying to really ask myself why I've done what I've done and make sure I have a good reason for it.
Also, I don't know why but a couple of the instrument soundfonts are giving me fits. The French Horns have always been a problem on musescore, but I think I've learned to get them to work, but I have yet to get the trombones to function. The playback is almost completely inaudible when it's on anything below forte, and forte and above are overbearingly loud. I think maybe if I go through and adjust the low points with the properties panel it might help. Also, the bass clarinet is giving me fits. At times it's too loud and at times it's inaudible depending on the notes. For some reason, it makes the bass clarinet staccatos very quiet. I don't know a whole lot about bass clarinets, so this may just be me scoring them in an abnormal register. IDK.
And I'm still reevaluating some points. I need to score for harp more in the first three movements, and the obvious candidate for that would be first movement. For some reason, I can't seem to just settle on something I like. I think the opening measures would really shine with a harp part. IDK. Anyhow, your comments have been immensely helpful as I go back to edit things. Thanks for taking the time to listen and comment!
@@etc.-1912 Hi and thanks, Im really glad to hear that I could help! Most ideas probably come from me having a different perspective on things, from a wind orchestra that sometimes struggles to over all parts, where nobody wants to sit and do nothing and most notably where almost everybody is just a hobby musician, not a virtuoso (i tripped over this problem with one of my compositions that we wanted to play on a concert, but never did). So I know a good amount about (wood)winds, but in exchange I have no experience with strings, harp or piano and whats playable. So, I am currently working on something, and I wondered if you can give me your opinion on it. I would be very happy about your feedback. If you want to check it out, could I send it to you per email or something?
Wow, this is really beautiful!! I’m also a young composer and I aspire to compose a symphony. What was your process for this? Did you compose on a piano score first, then orchestrate?
Well, it varies a bit. There have been orchestral scores that I composed on the piano for the piano first and then "upgraded" to orchestra like someone like Ravel would have done. While I will say that most of my ideas are simply ideas and aren't inherently written for large ensemble, piano, or something, for the most part, I tend to have a pretty good idea of where I want to take an idea when I'm conceiving it on the piano. So, I'll typically record a sloppy idea on my phone that I come up with on my piano and then I'll create my orchestration from that recording, most of the time. But my phone recordings are just ideas. Most of the hard work is done off the piano on MuseScore just deciding how the layers are all going to work out. But there's really not a right or wrong way to do it. I've created scores without ever coming up with an idea on the piano first and then there are times when my ideas or completely dependent on my original recording and I add nothing new. So, it really depends what works best for you as a composer and what makes the most sense for the piece your writing. The important part is that finding a way to jot down or record ideas because they are very easy to forget. 😂😂
@@etc.-1912thanks for the advice!! I didn’t think of recording my improvs… now hopefully I’ll be more efficient!
Nada mal. Yo lo usaría en términos de orquestación, usar sintetizadores tipo Vangelis. Con algo de maderas.
do you have a symphony number 1? it's very interesting to hear your first creation in this genre
Sadly I do. It’s still online. The only ones worth listening to though are my second and fourth. The third has a nice first movement though. Here’s a link to my first symphony on musescore. It’s from before Muse4 tho so the MIDI is pretty crunchy. musescore.com/user/45506576/scores/8418368
@@etc.-1912 Thanks you)
I'm also trying to write music, but I can't muster up the courage to post it anywhere yet.
@@2s0wo4aa musescore is a great place to start. People are a lot more supportive on musescore than on CZcams. The musescore website is a little unintuitive, though. So I’d join some groups that sounds interesting and add your pieces there.
ooh rell skeri thumbnail.. my timbers has been timbered
That’s exactly what I was going for. 😈 bc everybody’s timbers need to be shivered every once in a while otherwise we would all just be planks of wood sitting there motionless. I recommend doing stretches. It gets the blood flowing, but many enjoy playing sports. Not me though. Jk. Ironically, that’s the only photo I had of myself so I was like, gotta make it work I guess.
Wow!!! This is inspiring 🤩🤩🤩🤩
IS THIS MAURICE RAVEL I'M HEARING!?1!2!1
He is my favorite composer. So, I feel like my style is influenced a lot by his at the moment. But certainly not in terms of orchestration. Ravel was a god at that. I think the piece that most inspired this work is Walton’s Symphony 1. Im addicted to that piece. 😂 Thanks for listening!!
@@etc.-1912 The intro to the first movement made me thinking of Maurice Ravel's "Daphnis Et Chloé". 🔥
My god, the first mvt is so beautiful
Thank you! I legit didn't write anything for a good month and a half after I wrote that movement because it felt like I'd peaked. Sadly, I had. But that didn't stop me from composing! jk 😂😂
Hey bro it's like that for me too. I don't compose for weeks and when I get on the piano I get confused. Usually, it is when I feel like I know nothing about music that I start to discover something new. And when that happened, suddenly in a week I got 32 minutes of music. So keep going, I love your work.@@etc.-1912
@@CGRcomposer I always record my ideas on my phone with like the voice memos app. That's what I did with this piece. And then as I was developing my ideas, I'd replay them and rework them, rerecording them as I go. I end up with a lot of little audio recordings, that I have to organize, but I feel like I don't lose any ideas this way. Because I feel like 90% of the best pieces that I could ever write will never be started, just because they don't get past the idea stage. Also, it helps because sometimes I'm feeling more like writing stuff down, orchestrating, and arranging, and sometimes I'm feeling more like ideating and theorizing about music theory. 😂😂
@@etc.-1912OMG I find this so relatable, usually random ideas pop into my head and I end up humming them on my phone so I don’t forget. Especially when I’m outside or don’t have access to a piano or manuscript book.
@@etc.-1912holy shit we're the same person
not just 90 but more like 97% of my ideas never get written on paper
i sometimes hum in the shower but whenever i have something really beautiful i never manage to record it😢
An excellent classic of our time !!!
I like this attractive symphony very much (^^♪
Thank you!
Thank you for your reply!
can i ask what sounds you use on musescore?
@@alexwilson7699 the muse4 muse sound ones. I wasn’t really thinking about missing or balancing back then. Much more concerned about music theory. That’s why it sounds kind of bad in places.
This is great!
Thank you!
Bravo 👏🏻 👏🏻👏🏻
This is very impressive! Well done
Thank you for listening!
Bsn at b.71, just about playable but might be an even more beautiful passage if it were an 8ve lower in the tenor register - ‘the money register’ for bassoonists.
Really excellent piece hope it gets a play one day. Amateur orchestras out there.
Yeah, I’m a bassoonist, so I kind of threw in some challenging bassoon parts because I feel like most bassoon parts are pretty boring. 😂 I do kind of like that tenor register though. It’s so nice for solos and lyrical passages. Thanks for listening.
@@etc.-1912 Ah well in which case have a thought for your colleagues’ nerves and wits! 😄
How do you make it sound like humans are actually playing? What do you tinker with?
I have an orchestra in my basement.
jk This is the new soundfont in Musescore 4.0.
New soundfont? Wdym? I’m sorry for being persistent but I’m kinda struggling with making the program sound Human and natural y’know. Especially the clarinets.
@@Sumin_Wuttisetarak So, here's a link to a video I found useful for using the mixer panel. czcams.com/video/vOWHH0ZpZ98/video.html
TBH, I didn't use this at the time for this audio, although I use it now. I just approached the software like I was writing for my clarinetist friend. Musescore is pretty good about making things sound bad when they're actually going to sound bad in an orchestra (and when they're not). So, if it doesn't work, there is a possibility that it won't work. Also, just about anything virtuosic, forget it. Musescore's going to butcher it. So, what I did with this symphony was basically a lot of doubling and wrote like I was scoring for intermediate instrumentalists, everywhere. There's very rarely a solo instrumentalist. I think that's where the software really shines. Slow super simple stuff that it's impossible to mess up. 😂
@@etc.-1912 Ohh! Thank you very much. Sorry to bother you so much.
Great stuff dude.
Thank you!
My only suggestion is to try to balance the sound of the Musesounds instruments, they tend to sound weird sometimes.... apart from that, wow!
I absolutely agree! That is one of the things that stands out to me the most looking back. Thanks for listening!
@@etc.-1912 No worries! Also, what I like the most about your music, is that it seems like you weren't afraid of trying new things, and man what a good composer you are because of that. I'll take that in mind for my own pieces... ;)
It reminds me of Scriabin's 1st symphony.
He nailed the ending tho, unlike me. 😭😭
@@etc.-1912 Study counterpoint in depth.
Fantastic
Thanks!
i can taste a bit of shostakovich here 🥰
Yes, Shostakovich does taste good. lol NGL, I'm not a big Shostakovich fan. I think I listened to his Symhponies and a few other works and then I was like he not my cup of tea. It's kind of funny since I love Nielsen 5 to death. It's one of my favorite symphonies, and in many ways, I can see some similarities between it and Shosty's pieces. I'm such a hypocrite sometimes. 😂😂 Maybe I should give them a listen again. Thanks for listening!
Good work go on . First second third keep working it is always a lot of work and thinking sketching it is like sodoku it have to fit musically and if you leave it alone for a while judge and make corrections if needed.
Yeah, I'm slowly reworking things and planning an alternative ending to the fourth movement, and I will probably continue to tweak things and add to the orchestration. Thanks for listening!
how do you make an alto sax not power over the entire symphony
The mixer panel in Musescore allows me to adjust it. Actual answer is that it doesn't really work that well. 😂😂
How did you do the harp pedals correctly
There's a new palette in musescore for it, but I put a lot of study into writing for harp a while ago for a movement of my second symphony. Harps are unique, but a lot more flexible than I had thought initially. I enjoy writing or them, and they're fun to study. Thanks for listening.
@@etc.-1912 oh thanks
Where did you study composition bro?
I haven't. 🥲🥲 I'm just a college student actually majoring in photography. The extent of my musical training was in my previous community college, last year when I won a music scholarship that allowed me to take music classes along with my art classes. I took music theory, aural skills, and piano lessons, along with being part of both the choir and the theatre production, for some strange reason. I'm hoping to minor in composition at my current university, which should allow me to take some composition classes, but the bureaucracy at this university has made things rather difficult. I needed to take 300-level classes, which means that I basically had to convince the composition instructor that I was able to skip the prerequisites, which is what the first movement was for. It did work, so currently, fingers crossed, I should finally be able to take composition classes. Thanks for listening, though!
Excellent work my friend
Thank you!
NO WAY YOU HAVE A YT CHANNEL???
Unfortunately... I wasn't going to, since I don't think my boomer parents would appreciate it very much. But I don't think it'll ever get to the place where I would need to tell them since I don't really use it for much.
Also... you have a CZcams channel????
Yayyyyyy
Thanks for listening!
似乎未完成
So what! You still living with mom and dad, or who ever takes care of you! 😂😂😂 but fine, you have skill, and you have your way with technology, and a good sense of melody, and that’s it! You still have a long way to go before you get into really creating something of your own. This is a good essay on how ro be anachronic and conformist. But don’t despair, you will certainly have your way into soundtrack music.
This was terrible. Nothing memorable.
This is not music.
Wim when someone is better than him:
Guys this guy trash talks everyone dont listen to him
@@davidedentuti 😂
And of course @Whatismusic123 would be the authority on what is music. 🙄 But in reply I would say always remember that most critics are as useful as a one legged man teaching running. 😬
I was SURE I was going to come across a comment from WIM saying "this is not music" here
not that impressive
And deadly dull. The Allegro molto has some Brahmsian elements but sans any of Brahms’ sense of direction.
Try to do it yourself and post it so we can comment our impressions
@@alejandronogalesalmagro1980 when I turn 15, I will write one 20 mins longer than his
No you won’t Larry
@@furioushill4938 oh just you wait
Very derivative. I would never write through a computer. It looks pretty, but musically there is nothing here to sink my teeth into. Try writing on manuscript next time. It may yield better results.
I didn’t really write this on a computer. I guess I’m not sure what you mean. TBH, I wrote pretty much all of this by playing it on my piano and recording it on the voice memos app on my phone. I’m not the sort who can just sit down with a blank sheet and compose a piece of music. So, I would literally sit at the piano writing stuff down. I’ve tried writing on manuscript paper in this way, but I produce nearly identical works that I would then have to transcribe after the fact to software bc I’m not going to get anyone to perform it. So, I find it much easier for me to skip that step and write it in musescore. Anyhow, the intricacies of this piece aren’t exactly stellar. I’m just a 20 year old without any composition education. So, I have very little interest in writing experimental music that fits with the contemporary aesthetic. This particular composition I was exploring subtle dissonances in suspensions like the stacked E, F, F#, and G in the first movement and modulations which are something I usually avoid. Also, I explored some more nontraditional harmonies I guess in the fourth movement. It’s the most interesting movement. But most people don’t make it that far, so I’m guessing a lot of people get bogged down with the blatant diatonicism of my earlier movements. So, if this is what you mean by derivative, I suppose it is. But all music is derivative. The merit of contemporary classical music is not in how similar or dissimilar it is to other works. Right now, a contemporary classical piece is great if people will listen to it. Incidentally, I have not found the solution. 😂
Also, thanks so much for listening!!
@@etc.-1912I thought some areas needed work but I don’t know how he’s not hearing that there are a lot of great moments in this. Great job!
Wtf??
Bruh, we're in 21st century😂😂😂
So autistic the mf
Excellent work btw.
Who cares what would you write through? Lol. Nobody's talking