Thank you for commenting! For the solo violin I've added a new instrument. In the instrument edit window you can choose the option "ossia staff", which hides the instrument at empty bars. I hope this could help you.
I absolutely love this concept! this movement is amazing! I cannot wait to hear the full work! It's so great to see another young symphonist! I myself have just completed my first symphony, and its on my channel if you'd like to see! I cannot wait to see what the rest of your symphony brings! I apologize if I sound overeager, but it's not every day you run into another composer, let alone one composing a symphony in today's day and age! Pleasure to meet you!
Thank you for sharing your work. It’s beautiful listening to different timbres to show your ideas about air and feels like how Richard Strauss may have composed a symphonic poem about air. You open up your own personal perspective about air for me to learn and take inspiration from. Im currently composing about wind and taken on different path in the styles of Debussy/Ravel and perhaps Prokofiev/Richard Strauss. Would like to talk to you to discuss about your compositional process for this symphony poem.
I'm glad that I could inspire you! Everyone has his own perspective of view of the four elements. It depends on your personality how you think about for example air. I tried to show up many different characters in every element but it still will be every's personal feeling what the element is like.
Wow, what a very good piece this is Michael. Beautifully written and orchestrated. I really struggle to get the instruments balanced properly in Musescore 4, especially the woodwinds, never seeming to find mixer levels that work consistently for all dynamics...but it sounds like you've nailed it. Great job.
Das ist ja wundervoll! Das Konzept ist sehr eindrucksvoll umgesetzt! Nur einen Hinweis: wenn ein Fagott besonders hoch spielt, schreibt man es im Tenorschlüssel, nicht im Violinschlüssel.
I like this a lot - great composition! The sound is good as well. I've been having problems with some sounds inMS4 - solo string in particular - but this sounds great!
I like this. You have a lot going for you here. The content is interesting and imaginative...Am I hearing a flutter tongue in the flute somewhere. I have been unable to find flutter tongue in MuseSounds. Any suggestion?
Thank you for commenting! You're right with the flutter tongue. You can refer to this sound by adding tremolo bars to the notes. I hope this could help.
Amazing! I recently got MuseScore because I was so inspired by your symphony! I just have a two quick questions, how did you make the harp play with rubato at 1:43? Is there a tempo setting that just makes it play freely? And also how did you add a solo violin stave at 3:04?
Thank you for watching and commenting! I'm glad to hear that my music could inspire you. No KI ever could play rubato like a real musician. So I added a lots of tempo marks, accelerandos and ritardandos to "fake" a human rubato. If you have an instrument that plays only view bars and you don't want this to show up the whole sheet you can doubleclick on the instrument name in front of a staff and mark this as "Ossia". Musescore will hide this instrument everywhere except from the parts where some content is given. So you have an "additional" staff at this parts. I hope this could help you!
Your use of double flats, slurs and articulation can definitely be worked on. As a string player, I can personally say those slur markings are extremely unconventional and wouldn’t be played at least at the tempo marking and sound I’m presuming you’re going for. With the double flats, you could simply add naturals no matter what “shape” you’re going for. It’s easier to read for players and isn’t annoying. Also the use of PP< FFF at 4:51 is also quite unconventional for players and orchestrators. Sections like 5:49 where doubling could be used in different registers e.g., the flute (1) playing that little flourish once and then the piccolo doubling an octave higher is a much better and conventional way to orchestrate patterns like this, especially with the high shift in registers being uncomfortable otherwise. Otherwise a really nice piece with awesome colour, texture and pretty good orchestration and ideas! :)
Many thanks for your comment and thoughts! You are not the first one who mentioned the slur issue for strings and I already pay attention on that in my newest works. I mainly try to use double flats to stay harmonically correct but I'm not sure what's the best way in the chromatic lines. After thinking about it the PP
@@michaellyndee aw thanks so much! I thought maybe I was a bit harsh with my comment but I’m glad you took it to heart:) I used to optimise my writing to specific musescore playback issues but hand writing things has kind of fixed that (at least when I want to properly orchestrate something that could have potential to be played by real people possibly in the future I guess?) anyways I’m excited to hear more pieces on your channel and newer pieces to come! Happy writing :)
About those runs in the woodwinds at around 4:15, I see you split many of them going from part 1 to part 2, and then the other way around, constantly switching the run to an easier thing and then back to the run. If these actually get played by an orchestra, it would be better to just assign the run to part 1 or 2 and the percussive notes (don't know how to describe this) to the other, so it's easier to get in the flow for the runs. Although I guess you'll have to breathe somewhere…
Thank you for your comment and your advice. In deed the bouncing between runs and accents is mainly done to let the musicians breathe. A very small effect also is getting the "storm" a little bit more chaotic when runs and accents switches the instrument. But this might be only a theoretical argument ;-)
@@michaellyndee hmm, if you truly want a chaotic storm, I know "godess of fire" by Reinecke also has a storm part where many of the instruments have a short figure with the instruction "play as fast and often as possible" within a set time. That could be an effect you're going for, but that would change it maybe a bit much.
Lieber Michael, ich gratuliere dir zu deiner Musik. Mein Name ist Andreas Penninger, ich bin Dirigent. Hast du Lust für ein richtiges Orchester mit Chor etwas zu schreiben? Liebe Grüße Andreas
Vielen Dank für dein Lob und deine Anfrage! Zunächst steht bei mir die Vollendung meiner Symphonie an erster Stelle. Danach plane ich an einem Kompositionswettbewerb teilzunehmen. Danach bin ich gerne offen ;-) Fürs erste suche ich nach jemanden, der meine Symphonische Fantasie und meine Symphonie nach Fertigstellung aufführt. Wärst du mit deinem Orchester dazu bereit?
My friend, you made me believe in the classical musician inside me again. After years of "hiding" a piano concerto I wrote beacuse it was "too classical" and "not modern enough" I've found the inner courage to let out this piece, and the same as you, with Notation Software sounds, not "real" orchestra. Hope you'll enjoy: ruclips.net/video/QqI1vpkpOZs/видео.html
Amazingly beautiful Mostly I actually hate this kind of writing because it's sounds "too classical" or "too romantic" to the point that sometimes I believe there's no reason to write this way because theres so much music out there that sounds the same as that. In your case until i read the description I was sure this piece was made by Tchaikovsky or something, than I realised its actually yours Musescore start to take off, and soon sibelius will stop being relevant, and it's crazy to understand it's actually free Its almost sounds better than some mockups I've heared in my life and it's written and unplayed You should get it performed Its sounds great You made me believe it's ok to be melodic and not run through the atonal modernistic haze the academies tell us to live in Good luck ❤
![Jack Harlow - Hello Miss Johnson [Official Music Video]](http://i.ytimg.com/vi/Q86_nlRoIGw/mqdefault.jpg)
I have been anticipating the second movement since the first was uploaded, and oh boy, this was absolutely worth the wait!
I'm glad to hear that you like it!
My favorite movement/element in your symphony - all are amazing, but this is insane
Thank you very much for watching and commenting! My favourite one is the 3rd movement because of the very straight story telling.
@@michaellyndee yes movement 3 is amazing as well
3:00 PLEASE tell me how you added the solo in only that section.
Thank you for commenting! For the solo violin I've added a new instrument. In the instrument edit window you can choose the option "ossia staff", which hides the instrument at empty bars. I hope this could help you.
This sounds really good.
Thanks!
Between Delius and film music. From 2:17 a Richard Strauss episode.
Oh, really? Which Strauss episode are you talking about?
Similar in the Rosenkavalier
Ah, thanks!
I absolutely love this concept! this movement is amazing! I cannot wait to hear the full work!
It's so great to see another young symphonist! I myself have just completed my first symphony, and its on my channel if you'd like to see! I cannot wait to see what the rest of your symphony brings! I apologize if I sound overeager, but it's not every day you run into another composer, let alone one composing a symphony in today's day and age! Pleasure to meet you!
Thanks! I'm glad to hear that. I will listen to your symphony in the next days. I'm very excited!
Thank you so much!! I greatly appreciate it!
An absolutely beautifully composed movement, especially with that Harp solo at 1:38. Reminds me of the Swan Lake Harp Cadenza.
Thank you very much for the compliment!
The ending measures remind me of the ending of the 1st mvt of Dvorak 6. Very fun!
In deed... 🙈
Incredible!
Thank you very much!
Thank you for sharing your work.
It’s beautiful listening to different timbres to show your ideas about air and feels like how Richard Strauss may have composed a symphonic poem about air.
You open up your own personal perspective about air for me to learn and take inspiration from.
Im currently composing about wind and taken on different path in the styles of Debussy/Ravel and perhaps Prokofiev/Richard Strauss.
Would like to talk to you to discuss about your compositional process for this symphony poem.
I'm glad that I could inspire you! Everyone has his own perspective of view of the four elements. It depends on your personality how you think about for example air. I tried to show up many different characters in every element but it still will be every's personal feeling what the element is like.
Incredible! Well done!
Thank you very much!
Wow, what a very good piece this is Michael. Beautifully written and orchestrated. I really struggle to get the instruments balanced properly in Musescore 4, especially the woodwinds, never seeming to find mixer levels that work consistently for all dynamics...but it sounds like you've nailed it. Great job.
Thanks a lot! Version 4.2 is more balanced but I still need quite a lot dynamic overwritings...
Well done! That is some genuinely excellent music!
Thank you very much!
Das ist unglaublich gut. BiTtE live aufführen lassen
Danke! Schön, dass es dir gefällt! Das mit dem live aufführen wird wohl noch etwas dauern...🤷♂️
This is so inspiring! Great stuff
Thank you for this compliment!
😮 Just... WOW! Amazing!
Thank you for liking it!
mir bringts Tränen in die Augen
So schlimm? ;-)
@@michaellyndee weils so gut is
Das ist ja wundervoll! Das Konzept ist sehr eindrucksvoll umgesetzt! Nur einen Hinweis: wenn ein Fagott besonders hoch spielt, schreibt man es im Tenorschlüssel, nicht im Violinschlüssel.
Schön, dass es dir gefällt. Den Hinweis bezüglich der Fagottnotation werde ich künftig beherzigen. Danke dafür! 👍
I like this a lot - great composition! The sound is good as well. I've been having problems with some sounds inMS4 - solo string in particular - but this sounds great!
Thanks for watching and liking! This increases the motivation for the next movement even more! 😁
IM GOING TO MAKE A STORK POKEMON OUT OF THISSSS~~~~~~~~
I like this. You have a lot going for you here. The content is interesting and imaginative...Am I hearing a flutter tongue in the flute somewhere. I have been unable to find flutter tongue in MuseSounds. Any suggestion?
Thank you for commenting! You're right with the flutter tongue. You can refer to this sound by adding tremolo bars to the notes. I hope this could help.
Thanks I'll try it.@@michaellyndee
Amazing! I recently got MuseScore because I was so inspired by your symphony! I just have a two quick questions, how did you make the harp play with rubato at 1:43? Is there a tempo setting that just makes it play freely? And also how did you add a solo violin stave at 3:04?
Thank you for watching and commenting! I'm glad to hear that my music could inspire you.
No KI ever could play rubato like a real musician. So I added a lots of tempo marks, accelerandos and ritardandos to "fake" a human rubato.
If you have an instrument that plays only view bars and you don't want this to show up the whole sheet you can doubleclick on the instrument name in front of a staff and mark this as "Ossia". Musescore will hide this instrument everywhere except from the parts where some content is given. So you have an "additional" staff at this parts.
I hope this could help you!
Thank you so much @@michaellyndee this will definitely help me a lot, keep up the amazing work!
Your use of double flats, slurs and articulation can definitely be worked on. As a string player, I can personally say those slur markings are extremely unconventional and wouldn’t be played at least at the tempo marking and sound I’m presuming you’re going for. With the double flats, you could simply add naturals no matter what “shape” you’re going for. It’s easier to read for players and isn’t annoying.
Also the use of PP< FFF at 4:51 is also quite unconventional for players and orchestrators.
Sections like 5:49 where doubling could be used in different registers e.g., the flute (1) playing that little flourish once and then the piccolo doubling an octave higher is a much better and conventional way to orchestrate patterns like this, especially with the high shift in registers being uncomfortable otherwise.
Otherwise a really nice piece with awesome colour, texture and pretty good orchestration and ideas! :)
Many thanks for your comment and thoughts!
You are not the first one who mentioned the slur issue for strings and I already pay attention on that in my newest works. I mainly try to use double flats to stay harmonically correct but I'm not sure what's the best way in the chromatic lines.
After thinking about it the PP
@@michaellyndee aw thanks so much! I thought maybe I was a bit harsh with my comment but I’m glad you took it to heart:) I used to optimise my writing to specific musescore playback issues but hand writing things has kind of fixed that (at least when I want to properly orchestrate something that could have potential to be played by real people possibly in the future I guess?) anyways I’m excited to hear more pieces on your channel and newer pieces to come! Happy writing :)
About those runs in the woodwinds at around 4:15, I see you split many of them going from part 1 to part 2, and then the other way around, constantly switching the run to an easier thing and then back to the run.
If these actually get played by an orchestra, it would be better to just assign the run to part 1 or 2 and the percussive notes (don't know how to describe this) to the other, so it's easier to get in the flow for the runs. Although I guess you'll have to breathe somewhere…
Thank you for your comment and your advice. In deed the bouncing between runs and accents is mainly done to let the musicians breathe. A very small effect also is getting the "storm" a little bit more chaotic when runs and accents switches the instrument. But this might be only a theoretical argument ;-)
@@michaellyndee hmm, if you truly want a chaotic storm, I know "godess of fire" by Reinecke also has a storm part where many of the instruments have a short figure with the instruction "play as fast and often as possible" within a set time.
That could be an effect you're going for, but that would change it maybe a bit much.
Yes that's way to much... :-)
Lieber Michael, ich gratuliere dir zu deiner Musik. Mein Name ist Andreas Penninger, ich bin Dirigent. Hast du Lust für ein richtiges Orchester mit Chor etwas zu schreiben? Liebe Grüße Andreas
Vielen Dank für dein Lob und deine Anfrage! Zunächst steht bei mir die Vollendung meiner Symphonie an erster Stelle. Danach plane ich an einem Kompositionswettbewerb teilzunehmen. Danach bin ich gerne offen ;-)
Fürs erste suche ich nach jemanden, der meine Symphonische Fantasie und meine Symphonie nach Fertigstellung aufführt. Wärst du mit deinem Orchester dazu bereit?
My friend, you made me believe in the classical musician inside me again. After years of "hiding" a piano concerto I wrote beacuse it was "too classical" and "not modern enough" I've found the inner courage to let out this piece, and the same as you, with Notation Software sounds, not "real" orchestra.
Hope you'll enjoy:
ruclips.net/video/QqI1vpkpOZs/видео.html
Nice to hear, that I could motivate and inspire you with my work!
Amazingly beautiful
Mostly I actually hate this kind of writing because it's sounds "too classical" or "too romantic" to the point that sometimes I believe there's no reason to write this way because theres so much music out there that sounds the same as that.
In your case until i read the description I was sure this piece was made by Tchaikovsky or something, than I realised its actually yours
Musescore start to take off, and soon sibelius will stop being relevant, and it's crazy to understand it's actually free
Its almost sounds better than some mockups I've heared in my life and it's written and unplayed
You should get it performed
Its sounds great
You made me believe it's ok to be melodic and not run through the atonal modernistic haze the academies tell us to live in
Good luck ❤
Thank you so much for your praising words! I'm glad that there are so many people who appreciate this work!