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!
I hear some Anton Bruckner in this. It lacks Wagner's kinky erotics but has that sublime scent of Bruckner's countdown to ecstasy - only in this case the countdown stops at 1.
@@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
![BETA SQUAD vs AMP FOOTBALL MATCH [OFFICIAL STREAM]](http://i.ytimg.com/vi/ChEmvP52p0U/mqdefault.jpg)
every BBC show theme from the 80s-90s
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
@@tchaffmanoh same
Ronnie Hazelhurst that
Johnny Hawksworth
Wagner before his first cup of coffee
When u walk up da down escalator
omg that's perfect
Kinda sounds like Bruckner, very cool
The Fr+6/IV into the suspension over the IV is just perfection
That is actually so sick. Turn this into a whole piece!!
agreed, please!!
Mahler’s gonna blow your mind
@@javachef828wich moments of mahler do you recommwnd me to listen to hear this use of harmony. Thank you
@@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.
Webern: Am I a joke to you?
Sounds like an oddly baroque Wagner
aka bruckner
So I’m not the only one who hears Wagner here?! :D
@@jamesondarcy1189 nah, Bruckner is more like Schubert and Wagner.
the big appoggiatura reminds me of a moment from the Prelude Tristan and Isolde. Very cool!!
I had 12 epiphanies in the space of a minute.
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!)
Nice ! Agree with you on the rules statement....you must know them before you can break them !! Otherwise we'd still be singing Gregorian chants !!
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!
I LOVE that Neapolitan! One of my favorite harmonic progressions!
Very nice voice leading my guy. Loves it.
Beautiful harmony
this is surprisingly good
Love it! Brilliant!!
Nice stuff.
Ah c'est sympa ça :D J'ai beaucoup apprécié, merci ! :D
Very cool!
Someone should perform the overture of Der Freischütz with this replacing the horn part.
I see I’m not alone in thinking of Wagner in it’s effect 🎶👏🏼
Very nice!
I hear some Anton Bruckner in this. It lacks Wagner's kinky erotics but has that sublime scent of Bruckner's countdown to ecstasy - only in this case the countdown stops at 1.
hahahahahaha
I'm waiting for the 10 hour version.
Listen to Tchaikovsky's opera Eugene Onegin, at Lensky's arioso, beginning sounds just like this.
ruclips.net/video/IP-WSBN4juU/видео.htmlfeature=shared&t=1328
this is absolutely insane. So tastefully done. Did you record with live or virtual instrumentation? Either way it sounds phenomenal
thanks! believe it or not, this is straight out of MuseScore, playback and all!
@@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!
Tell me you didn't hear straight away that these are not real horns. 😲
Now modulate to microtonal keys!
Maybe I will, just because you asked
@@KennyRegan And maybe I'll subscribe so I can see it!
@@ZephyrysBaum here you go ruclips.net/video/6-vQ5Ds94yE/видео.html
@@KennyRegan thanks lol, it sounds stunning!
@@KennyRegan omg, you're a legend
nice
I'm highly tempted to play this and multitrack it.
You have my blessing
@@KennyRegando you perhaps have a PDF you can send me? Or a link?
@@Tkibbs14 Sure! drive.google.com/file/d/11NlWUy6Mcxzwq1sQSclAdpi6u1Urf4Pw/view?usp=sharing
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.
Wow
I don't think horns were the best choice for this. Sounds muddy and distant.
I agree with it beeing muddy and distant but think it ads too the music actually.
when are the horn players supposed to breathe? also that first horn is clearly a flute in disguise
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
can you release the midi?
sure drive.google.com/file/d/13eSHzguqKLYKwsQwK0ccY-yzmE2_8YGk/view?usp=sharing
@@KennyRegan thanks! I want to play this on my clarinet
Wanderer leitmotiv
Wait can i get this as a pdf i want to try to record it
sure drive.google.com/file/d/11NlWUy6Mcxzwq1sQSclAdpi6u1Urf4Pw/view?usp=sharing
@@KennyRegan Thanks!!
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.
@@KennyRegancool, thanks so much for sharing that info!
Why even bother with key signatures at that point
Not playable but a fun Sibelius recording :)
It's actually MuseScore, believe it or not!
Why is it not playable?
@@hdbrotYeah why, is it not in range?
Horn players with a true pedal C that can project at forte are not too common. The filigree in horn 1 isn't particularly idiomatic either.
@dubio77 ya it's just all around icky horn writing lol
too much rverb. i can barely tell the direction of the notes.
probably more so because of the inflexibility of the muse sound horn legato, but thanks for the feedback!
Its still over exploited today in Prime and Netflix crappy free to view movies!
i'm sorry but like there is a really strange high pitch sound in this record thats annoying
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