Hi, I'd like to share with you my new variations for piano again on a sketched beautiful and rather melancholic Beethoven tune from 1820. Formerly I have made already an orchestration of that theme.
On 21 June, two things happened on my system: (1) Sibelius suddenly hung on startup, a problem that could not be fixed even by trashing the file containing my global Sibelius settings. I was about to give up, when I was inform
Hi, I'd like to present to you my new overture on the fascinating notes B-A-C-H, inspired by some sketches by Beethoven . Please read the remarks in the video description ... I hope you will enjoy it:
I'll go first. I like to make things—not to express myself, but because I want to understand how things work. By writing music, I get to see the layers underneath. How does a brain work? After decades of profound drinking and thinking, I realized tha
as this forum seems to have died recently, I feel obliged to post something new. Well actually, it isn't really new but my String Serenade has been redone with a new chamber strings library and for the most part, I like the result. The piece is a bit
Just letting those of you who may be interested know that the first installment of my Orchestration In Depth series is now available on the Apple Books bookstore, this volume being focused entirely on Timpani. It is optimized for the Apple Books read
May I introduce you to my latest realisation of some marvelous Beethoven sketches ? At the end there is a Scherzo which I think is one of Beethoven's best!
Can you imagine this to be done from these original sketches?
I fairly recently completed my latest chamber work. Like with the 12th, this finishes with a consolatory adagio as its heart, though this time it's a bit more complex and starts with a variant of the main motif of the first movement which is highly c
Has anyone here by chance read a book called Blink: How to Think without Thinking? Joel McNeely said it helped him get faster in churning it out. Of course that doesn't mean it will work for everyone, and I'm kinda busy to be taking on a new book, bu
My piece Callisto is being played on the Californian classical music station Classical KUSC on Friday 3rd, around 8am PDT on Jennifer Miller Hammel's morning show (4pm GMT for UK people, and google will sort it out for anyone else). If there's enough
I know there probably isn't any standard, but just wondering what are the usual paper sizes employed for a conductor's score with 16-18 staves? Something that's comfortable to read and not too spaced out that it's difficult to pick out the lines at
I typeset my own scores and always will, but I hate doing parts, though I know how to do them properly. I'm wondering what people around here do? Do you do everything, or hire out for parts and do your own score, or hire out for parts as well as scor
For me, producing a useful score - one that could be submitted to professional directors/orchestras - is hard work. I start on paper in short score; then move it into a daw. By then most if not all the orc
I'll start posting the full movements on here eventually, but I've finished (in the protracted finalising of parts and scores now) a large symphonic suite of four tone poems written for the Galilean moons of Jupiter. In a fit of inventiveness I named
I am conducting a questionnaire for my dissertation on the topic of instrumentation and orchestration in composition and I am hoping to find people to take part in my survey who compose/produce music for film/TV. If that’s y
I've never bothered putting up my limited forays into solo piano music up on the web before as I was never very happy with my endeavours. And piano music is anyway the most commonly posted form by amateurs. But the latest set of four works seems to m
one of the forms of music least often heard on forums seems to be choral music -- especially of a sacred nature.The situation is not helped by the fact that only one company, EWQL, has actually bothered to create choirs that can sing free text in a s
Hi, I started today the orchestration/completion of the exposition of an abandoned Beethoven draft for a a triple concerto apparently for violin, cello and piano, which predates the familiar Triple Concerto or at least a concerto for violin and Cello