The 80s-90s didn't exist, the entire simulated universe was spawned into existence in 1998 when I was born, "coincidentally" when the internet was being adopted
@@sabribaroni3065 This sounds very much like late romanticism. You can dive into Wagner as well. As for Mahler, all his work. I think that Symphony's 2, 3 and 5 catch very well the attention at the first notes. His music demands a lot of focus from listeners.
Love it! Thanks for making the MIDI available, great learning resource (also revealing the joys of Musescore's idiosyncrasies...1 bar at 480bpm to simulate a breath space!)
Really fantastic! May I suggest the low part on a small tuba (F tuba) which harmonizes well with horns. If you post the music, the boys and I will record it for you. I encourage you to expand this composition!
@@KennyRegan Thanks for your reply, definitely going to give MuseScore a shot for my own composition needs. You have an incredible talent. Looking forward to hearing more of your music!
I dig your wide registered writing for horn. have you ever encountered in orchestras for film/stage/commercial-universe where horn sections were laid out like an orchestra horn section? The kind that has 1 High, 2 Low, 3 High, 4 Low - For this piece, one might give the third horn line here to the second horn player to pair with the fourth as low horns if it was a "French Horn Section"TM- any thoughts on that antique?
Ya, 1,3,2,4 is what I typically do when writing for large ensembles, though if it's a chamber piece I'll just let 1,2,3,4 correspond to respective register. That said, I did not intend this piece to be played by real musicians so please don't take it as an example of good horn writing haha
@@KennyRegan Thanks for your insight. Maybe you didn’t intend it that way, but it would be sick to hear it with some horns tho. Sarah Willis and her section mates should def read this sometime.
Some pretty opaque notation of chord symbols, “V4 2/IV”?, “Ger 6+”, really?, and even - why stick a G major key signature on this just because it starts and ends in G, when it goes through every major key?
Just sticking to common practice analysis; "V42/IV" is because it functions as a secondary dominant seventh chord in third inversion resolving to IV; "Ger+6" because it is an augmented sixth chord with a raised supertonic; the G Major key signature because the piece overall is in the key of G Major, and the "modulations" operate more as brief tonicizations than as true modulations. If I were writing in a more post-tonal style I'd probably use lead sheet symbols instead
Hmmm what’s the way of modulating an N6? Are there various ways and that’s what you’re doing here? I always find N6 a bit confusing. Nice piece of music by the way!
@@mattwallis1893 Thanks! To modulate with the Neapolitan, you treat the I6 chord of the current key as though it is the N6 chord of the new key, and then resolve it the way the N6 would resolve in the new key (N6 -> V -> I). So, for example, if I'm starting in the key of D-flat Major, I would treat my I6 chord (Db/F) as the N6 chord of the key of C Major, and then resolve N6 (Db/F) -> V (G) -> I (C). It's basically just a pivot chord modulation. I just did this exact same type of modulation twelve times, with varied non-chord tones and decorations lol.
yeah that's in the muse horn sounds sadly :( i usually mix all the instruments outside musescore to clean up the sound but i didn't do that for this video
