/comp/ - Composition General

Oh, I forgot

made it to bump limit edition

second for John

guess who

https://clyp.it/nvw5aibn

Any opinion on this?

>https://musescore.com/user/12513221/scores/2673646
reposting from last thread
How do I put more movement into the violin 2 and viola parts without drawing attention away from the violin 1 part

>>68081106
Unless your composition isn't genuine, don't call it shit. A negative view of your own work won't ever make it better.

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>>68081198
wow. [comp] really is a nice thread.

>>68081035
>Cheers anon, keep it up. How long did you play piano before you stopped?

It's complicated, I played like once each never for fun in school. Eventually I tried learning some music from video games, a couple of months later I somehow wound up at a classical teacher's doorstep and I studied there like 2 years.

I switched teacher and studied there for an additional year, but I wasn't that into it. I loved it but I was stressed as fuck due to high school so I studied mostly waltzes and a couple of sonatas and inventions.

That was three fucking years ago, I left it soon after I entered college and I had a fuckton of problems. Getting through it right now though, and literally a couple of weeks ago I started studying chopin's Op. 42. no. 2, Grand Valse in A minor. I'm gonna go for Mozart's Sonata no. 8 and Bach's Invention no. 2.

Maybe I should have gone for easier stuff, idk, but I think I can play it. My sound is consistently shit right now, it's heavy and as unclean as fuck right now.

>>68081198

It's just fake modesty.

Secretly I'm in love with anything I write, but I feel uncomfortable in showing it since I still am an amateur when compared to my teachers.

Anyway, any opinion on the piece?

>>68081271
>Secretly I'm in love with anything I write
this. even if it's a drunk improv i did at 4 in the morning

>>68081257
>Chopin
Welp, you're going better than me when I practiced for about 3 years.

>Maybe I should have gone for easier stuff, idk, but I think I can play it. My sound is consistently shit right now, it's heavy and as unclean as fuck right now.
Though this is also a thing. I remember a guy playing the third movement of Beethoven's Moonlight Sonata. I was impressed.

Later, the teacher told him "this is your level" and played a minuet for him. I guess he was practically telling him that his interpretation needed a lot of work, and that he should understand and master simpler pieces first.

>>68081271
Since you're working with few instruments, I'd take a close look at every interval and try to find some less discordant alternatives to what you've got at the moment. Not to say that discord is bad, just don't overdo it. Also, are you planning to add more instruments to it or is it going to stay as it is?

>>68081354
Also, I think your piece could benefit from a stronger rhythm, just so the listener doesn't get lost.

>>68081257
>>68081308
>Maybe I should have gone for easier stuff, idk, but I think I can play it. My sound is consistently shit right now, it's heavy and as unclean as fuck right now.
>I guess he was practically telling him that his interpretation needed a lot of work, and that he should understand and master simpler pieces first.
Pretty much this.

Most of my recent work on the cello hasn't been learning the Dvorak or whathaveyou, it's been playing slow and simple pieces and learning how to play them just perfectly. Perfectly in tune, coordinated string changes, vibrant bow articulation, well-timed shifts, making sure every facet is polished. This is more pronounced on the cello and stringed instruments than on the piano for obvious reasons, but even on the piano there are many aspects to well-educated pianists' technique that self-taught pianists rarely even think about. The way that you coordinate all your fingers when playing a block chord so that the pinky and thumb press with an equal amount of force. The way your fingers move in sync with each other, the angle at which your fingers hit the keys, etc

>>68081435
just forgot to add this detail, but the effect on my playing is incredible. By slowly practicing these things in scales and such, I improve my more "difficult" repertoire to an extent I never could have improved it to by just playing them over and over again.

Even on the piano, the little bit I've done trying to do a couple of these things has seriously improved things.

>>68081435
>well-educated pianists' technique that self-taught pianists rarely even think about.
Is the only way getting a teacher? I assume there's only so much that books can do. I'm a self learner of many things, but in some cases it seems to me that I an expert's critique is your only way to improve.

>>68081507
I also have Hanon's book, but I don't know how far that'll get me.

>>68081435
Yeah, but I'm not self-thought anymore. I know what I gotta do. I just gotta get back to it. My biggest obstacle in music has always been reading the goddamn music sheets because I've never taken much solfeggio. That, and playing clearly. Playing Bach is a pain in the ass for me, and Mozart is fun but ultimately hard for me as well. Chopin is easy mode for me.

I was thinking of studying solfeggio while my motivation for playing the piano returned but it suddenly sparked all of a sudden so I'd rather go there first. I'm not planning to be a professional anyway.

Like that teacher said, it's not just about pressing keys. You're making an interpretation, we can ask Sibelius to play it if you want to hear how it sounds like.

>>68081308
>Welp, you're going better than me when I practiced for about 3 years.

Chopin's waltzes and preludes aren't really hard. It's not like I'm playing his concerts or his ballades, but MAN playing ballade no. 1 is one of my dreams as a pianist.

Also this. https://www.youtube.com/watch?v=JNgeUGcze18

After I get back some of my technique I'm planning to open up my genres as well. I'd love to study jazz or play the suck-ass solos of Dream Theater. I'd also like to play some VERY underrated video game music. And in the way there I'd like to compose the OST for a videogame, even if it is for free.

Ultimately though that's gonna be slow 'cause I'm majoring in psychology and that has to be my priority.

>>68081507
Well, it's helped me (on the cello), and there's no better way, really (at least, depending on how good of a teacher you have). But it's not that you can't teach yourself these things, it's just inefficient and could lead to habits you never notice developing. Self-learning is better than no learning.

These are just some general rules that apply to most instruments.

Relax.
Don't allow tension in any part of your body.
Breathe by lifting your diaphragm. Breathe often and slowly.
Sit up at the edge of your chair in such a way that you can stand at any time with the least effort, without leaning forward. (If you're standing up to play, stand so that you can sit at the edge of a hypothetical chair with minimum effort.)
Pull, don't push. Instead of pushing clockwise, pull counterclockwise, and vice versa.
Let gravity do most of the work.

Most all instrument-specific posture rules are simply applications of these rules.

>>68081165
>https://musescore.com/user/12513221/scores/2673646

Add some half notes or quarters and a dotted half not even a few eights at the end of a phrase or measure might work. As long as they're moderately used and it's still less rhythmically active than the medley you're good.

Sight note you use a lot of what sound like suspensions and just from an aural perspective, your resolutions are a tad unsatisfying, so it makes your music sound real tense.

>>68082369
How can I put that link? I wanna send a preview of the piece I played earlier, I got the first part finished.

>>68081165
Commented on it last thread.
Here's another thing you could look at.
https://www.youtube.com/watch?v=3MkzXUmzm4w

One thing I might say is, you often drop interesting motifs in the background and then do nothing with them. Take measure 8 for example. You introduce an ascending arpeggio motif in the cello part, something new. You could easily have that motif passed to the violas or 2nds so they can play hot potato with it and develop it. Perhaps the entire motif, perhaps with the strong beat omitted (so they'd arpeggiate each measure starting on beat 2 or something), etc. Have them do something with it.

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So should I continue with this? I just woke up and suddenly have the urge to change the part where the piece enters the dominant section.

>>68083102
>melodic augmented triad
unf

You might want to post a recording.

>>68083329
W-what is the meaning of the word unf.. did I fuck up somewhere..

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>>68083342
perhaps this image will make the meaning clearer.

Okay, here it goes. It's the first part of the shit audio quality I sent earlier.

I dunno if I'm supposed to take this long in writing so little...

https://musescore.com/user/12518851/scores/2674751

>>68083364

Ahh you are talking about the alt5 flat9 part? I took that one from jazz, I'm still thinking if it fits the context or not.

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>>68083383
>I dunno if I'm supposed to take this long in writing so little
>this long in writing so little
>in writing so little
>so little

Well my productivity is measured in measures per month so I think you're good

>>68083414
I'm just talking about how common the augmented triad is, melodically (and harmonically now that I've read on).

>alt5 flat9
Would that be something like FAC#Gb or something? Where does that occur?

>>68083461

Oh I was talking about the dominant alt5 flat9, AC#E#Cnatural

At bar number 4, starting on the 3rd beat.

>>68083496
Oh, I see. Why is that a flat 9? Wouldn't the 9 of an A chord be some variety of B?

Personally I kind of just viewed that chord as a strange variant of how the subtonic can appear from time to time in a dominant chord, always as a purely melodic note, usually appoggiatura or something. (So you'd have AC#E, and the melody would leap up to C natural, then step down to Bb, then to A or something. Only here the dominant chord is a dominant augmented (and the melody is confusing matters further by emphasizing G, the seventh of the V chord)

>>68083606

Oh wait it's not a flat 9, it's a sharp 9. Basically a natural C. Damn why can't they just take 9, 11 and 13s and call them 2,4,6 instead.

Yeah I realized that G is kind of off put, I'm going to rework the whole thing, the right hand has too many moving parts and the left hand just plays alberti bass, it's kind of boring in some sense. I'm going to write a descending passage for the left hand instead of just playing chords.

Man this is really different from making post-rock, you really got to think about harmony instead of thinking in textures. Even though im not even sure I can play what I write lmao.

>>68083631
No, no, I'm not saying the G's bad, it seems cool. Although I'd need a recording to know.

>https://musescore.com/user/12513221/scores/2674966
I think I overdid it with the movement under the melody. I didn't add any movement during the oboe solo to compare.

>>68080592

>tfw when hearing this and wondering why am I still even trying
>tfw decade of piano lessons didn't help the slightest
>tfw people often find my pieces "meh"
>tfw when others post their long improvs here they get a (often positive) feedback but when I spent 2 hours to edit good parts of mine I just got told nobody has time to listen to that shit

This shit is probably even more stressful than I think. I don't know if you feel that way but usually deep down I think I'm good, but when I post it and/or just listen to it on a repeat I think I'm fucking terrible. Or maybe I have a shitty taste which is probably even worse, idk.

>>68084466
Just play without critiquing yourself. Whenever I feel shitty about my playing or composing I'll sit down and play or write as if I'm already the best in the world, pretending that everything I do will be studied in depth like Beethoven or Mozart.
Just doing this once a week always puts me in a good mood, and I think it helps me a lot.

>>68084466

Do you like what you're playing?
Would you listen to that vocaroo for 7 minutes if the author was another random anon?

That's your only challenge as an artist. Everyone can write beautiful melodies or use hard and complex melodic tools, but the ones that are to be remembered are the omes that resonated the most with their audience.

Just be honest with yourself and figure out what would you like to listen at a concert of yours if you were to be a random bystander.

>>68084466
(re-)post your stuff, so we know wtf ur talkin about

What is the best way to edit music sheet on a pc?

I usually trascribe everything I write on FL studio, but there I can save the score as music sheet only a track at a time, wich is a hassle since I'm writing mostly fugues.

Is there a program in wich I can jam 4 different music sheets and get a nicer final one?

https://clyp.it/gme3xelr

rate?

Are there any pieces from Palestrina that are played on instruments?
Or any similar composers that would do this?

>>68086180

What?

>>68086042

It sounds good, a bit overemotional (especially after the .35 mark), but still good.

What books do I need to read to compose pieces like these?

>>68086042
https://clyp.it/gme3xelr
the rythm of melody sounds fucked up, like it's lagging by 2 beats behind bass, so that the resolutions happen on unaccented beats. or maybe that was intentional, in that case i didnt like the result.

>>68086189
WHAT ARE SOME COMPOSERS THAT USE MODAL COUNTERPOINT LIKE PALESTRINA BUT WITH INSTRUMENTS I CAN'T STAND THE CHOIRS.

>>68086293

There's some lag but only in the last measure.

>>68085436
Sibelius (musicXML import, or midi import)

Lilypond + Frescobaldi, if you're into manually tweaking your sheet to the highest levels of beauty.

>>68086180
A quick glance at imslp tells me that there's only instrumental arrangements of Palestrina works, but his oevre is exclusively vocal music.

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barely got any progress on my fugue.

Decided to add a 4th voice, now stuck with doing counterpoint for a modal CF in the pedal voice. Gonna try and figure out a nice chord progression first.

https://clyp.it/img03amr

Considering that I'll start playing piano in December and that I'll probably play 3 hours everyday (I already play guitar so I'm used to play music that much), how many years will it most likely take to play Counterpoint 1 from Bach's Art of Fugue?

>>68081695
Nice piano piece there, thanks for the link. Gonna save it.

And good luck anon, our objectives are very similar. I can relate.

Just keep practicing daily, it's all about persistence. And pushing the bar a little further up every day to not stagnate.

Lately I've been just obsessed with just intonation, to the point where I can't work on my string trio on the piano, because it sounds wrong.

If you have a melody in C,
>B A# B C or something
so B is the leading tone of C and A# is the leading tone of B, is A#'s frequency 15/16 times the frequency of B just like B's is 15/16 times that of C? Does that mean the melody is
>(15/16)C (225/256)C (15/16)C C
?

>>68086719
depends whether it's a figuration or a modulation.

In your example, I'd assume even though you have a brief A# in your melody, as long as it doesn't modulate into B major, you'd still use C major as your current key, and therefore adjust the A# within C maj, more precisely use the pythagorean augmented sixth formula, which is

A# = 59049/32768 C

speaking in intervals: A# = C + 10* p5th - 5 * p8ve

With string instruments, they tend to use just intonation on double/triple/quad stops, BUT use phythagorean intonation for scales, therefore always switching back and forth between temperaments.

https://www.youtube.com/watch?v=QaYOwIIvgHg

>>68081052

https://www.youtube.com/channel/UCqUEaKts92UIstFjrz9BfcA

>>68087406
https://youtu.be/pb8BiQR9RTI

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Wikipedia says this is a IV-V-I progression in the key of C but i dont see it.

>F is the root of the first
>F is 4th in C scale so i get it

>D is root of second
>D is 2nd in C scale wtf
>B is 7th in C scale so its not inverted

>third is inverted with C at the top
>makes sense i guess

how the fuck is that second one supposed to be V?

>>68087608
you trolling or what? It's a simple G B D (g major) chord, 5th degree of C.

>>68087608
It's both staves.

>>68081052
Last stream about ear training

Vid: https://1drv.ms/v/s!ArFBFu40czB-n1FKFbpXle8GzII3
PDF: https://www.dropbox.com/s/p0g1lre3exdd2kd/Ear%20Training.pdf?dl=0

Description:
Part one of ear training, pitch recognition.
Get the PDF here at [google drive link]

>>68087622
not at all, just a guitar player finally trying to learn music theory after only using tabs


>>68087645
but i still dont see a g note in the bass clef

>>68087694
both notes in the bass clef are G.

>>68087704
oh shit, i didn't know the notes in bass clef and treble are in different order

>>68087694
>what is root note

>>68087755
protip: bass clef resembles F and marks the F

[spoiler]normal clef resembles G and marks the G[/spoiler]

it could save your life

>>68087755
The line between the colon of the bass cleft indicates the F, thus it's also called an F clef. The top cleft has a crossfade, the line it marks is the G.

There's also the C clef that looks like the letter K and indicates the C in its middle.
I hate that one.

>>68087780
>>68087799
thanks, this info actually helps alot

since i was told guitar doesn't use bass and C clefs a lot i didnt really put in the effort to memorize the note order for them.

i was so fucking confused trying to read sheet music and understand the progressions in them this past week and now i know why

>>68087873
iirc the lower guitar strings are well within the Bass clef, but often, the ottava basso G cleft is used, or just the G clef with implied ottava transposition.

What about bass guitar? they should be using bass clef, right?

>>68083383
I heard it a while ago and the melody has been stuck in my head for a while.

Hope you finish the transcription soon, I really liked it.

>>68087907
wouldn't know sorry, only really play acoustic and recently got an electric which made me want to learn theory

>>68087968
well good luck with your endeavour. I've started learning jazz theory recently and understand how stupid it can make you feel at time until it suddenly comes together.

>>68086042

Any other opinion about this piece?

>>68088398
Excuse me for being lazy, but do you have sheets?

>>68088439

I have separate sheets for every track.
Tonight I'll probably fix them with sybellus

https://clyp.it/j1bvcyay

thoughts?????

bump valid for two hours

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>>68088673
Nice, do you intend to finish it? Drop the sheet if you have it too.

>>68089993

Yeah I do intend to finish it. It's the first piece I ever written, I'm actually feeling kinda ambitious, might write like 3 movements for this sonata thingy.

But at the same time I have never played or listen to classical for 7 years, maybe it's time to pick up the old Beethoven or Mozart records?

>>68090037
>beethoven
>mozart
You get bullied a lot, huh?

when was the rule against parallel 5ths and 8ths invented? it seems so counterintuive to avoid these things instead of real dissonances. and there are systems like eastern orthodox chant that consists almost only of these elements. or do you need patrician ears to really feel bothered by this stuff?

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>>68091186
Because its boring

>>68091234
as opposed to parallel 3 and 6, which arent considered irregular? nigga pls

>>68091263
Aren't parallels as a whole meant to be used sparingly though?

Do you consider 3 parallel 10s in a row (usually moving upwards) boring? I kinda like them, even though they can be heard VERY often in electronic music. They have that "le epic" feeling (hate that term for music).

>>68091186
The point of counterpoint is to stack multiple independent melodies atop each other. Parallel perfect intervals sound too much like a single melodic line. At least parallel imperfect intervals can change between major and minor.

>>68093279

>>68094271

>>68095218

>>68096059

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>Start piece in C minor
>It starts to sound as if in E flat Major
Am I supposed to keep trying until it starts to sound good?

I guess I can also go ahead and discover what I did to make it feel like E flat Major.

>>68096954
C minor and E flat Major are practically the same key, it's so easy to slip back and forth between them without even thinking about it. This ambiguity is a lot of fun to explore and exploit, I can link examples of this if you want.

It's especially easy if you have no clear-cut V chords. In lieu of this you use VII, which has gained a bit of a dominant function in recent years but only because of its relation to the relative major. In the relative major, VII is V, and the i that follows it is vi. So VII-i in the minor mode sounds like V-vi in the major mode, a deceptive cadence. Your melody really helps this happen:
>C - - - | Bb - - Bb | F - - - | Eb - - -
>in c minor: 1 - - - | 7 - - 7 | 4 - - - | 3 - - - (a very weak cadence)
>in Eb Major: 6 - - - | 5 - - 5 | 2 - - - | 1 - - - (a perfect authentic cadence, if it weren't for the deceptive resolution)

In fact, your entire harmony is geared towards Eb Major. (The chord in measure 6 is mislabeled, by the way.)
>in c minor: i i7 VII i | i6 III iv VII42
>in Eb Major: vi vi7 V vi | vi6 I ii V42
I mean, look at that ii leading to V, that's quite a strong predominant.

I'm trying to make eeire sounding music. is there anything other than minors, diminished and dissonance I should know about?

>>68097728
Yeah, all the best eerie sounding music is in major.

>>68097697
>I can link examples of this if you want.
Please do, I'd like to examine them.

>So VII-i in the minor mode sounds like V-vi in the major mode, a deceptive cadence.
Fuck, you're right.

Thanks for the analysis. Really helpful. And yeah, you're right. It's just an i in measure 6.

So this is a case where I can take advantage of this and "switch" between both scales, right? Just need to push the C minor leads. I don't know what the result will be but it could be interesting.

>I mean, look at that ii leading to V, that's quite a strong predominant.
That's the point where I got into a "wait a second" moment, when I noticed that I was going to fall into E as a tonic.

>>68097728
high octave chords on piano sound eerie no matter what chords you're playing.

>>68096880

https://musescore.com/user/12540031/scores/2678246

I did some more after anon's observations, tried to play a bit with C minor and E flat major. Extremely simple, though I do plan on working more with it.

Not sure what's up with some notations being kinda fucked, maybe because it's a Sibelius export.

>>68099231

>>68098132
I was thinking mostly of this when I said that.
https://www.youtube.com/watch?v=lMKyTAe6yeM
Note the way the first stanza ends ("Tu rayonnais comme un ciel éclairé par l'aurore") with the singer and piano having an authentic cadence in III (EbGBb), and then the piano pulls a fast one on you, playing a III+ in first inversion (GBEb) which then morphs slightly, becoming V7 (GBDF) for just a moment. It's great.

Another great one is
https://www.youtube.com/watch?v=_b_rwtDlUXA
The entire thing has a lot of this, Dvorak (and romantic composers in general) really liked this sort of thing. Listen to the 2nd movement in particular, though, so many great moments with these. Starts at 9:03.

The way that, at 9:27, the harmony is i III6 i, with the bass moving one-five-one to give III and the flat seventh scale degree a semi-dominant function. Then at 9:44 it comes to a bit of a half-cadence on VII, only to return to i and repeat the theme again. Then at 10:34 after that half-cadence on VII ends again, we finally get our first leading tone, C#, in a fully diminished seventh chord, C#EGBb. This diminished seventh chord is held for four measures before the absolute madman resolves it to III instead of i (C#EGBb = DbEGBb) and oh man, it's just brilliant.

My absolute favorite moment is 15:00. After many twists and turns we're finally settling in III (F Major) for the denouement of the piece. The bassline moves toward C, the five of F. At 15:10 the bassline plays Db, leading right back to C. At which point the bassline steps a half-step up again, but this time it's to C#, as part of the true dominant, ADom7. And then Dvorak gives you the original theme one last time, the smooth motherfucker. Just fucking gorgeous I mean Jesus Christ

I quite like this piece as you can tell.

>>68100613
Shit son, thanks. Dvorak will require a bit of time to check properly.

>>68090322

Uhh.. I think I did.. why?

>>68100750
Originally I was just going to mention the moment at 15:10, but then I realized they were freaking everywhere. The romantic period is really the age of keys a third apart from each other.

This piece is just covered with them for example
https://www.youtube.com/watch?v=jQLD_rPWXsE
You could undoubtedly find them all throughout here, though it's so densely chromatic that at times major and minor almost begin to blur

>>68091186
Assuming you're looking at the counterpoint book:

Parallel fifths and octaves sound really harsh and empty for this particular style of writing.

For example, listen to a little bit of this:
https://www.youtube.com/watch?v=PQo_LirQY-k

They'd sound pretty out of place

tired and trying to improv.

Whenever I try to record something, I don't get into a flow as easily when I'm just playing to myself.

https://vid.me/58WT

>>68101234
whoops, I meant to also post this
https://www.youtube.com/watch?v=vqODySSxYpc
That other piece isn't nearly as densely chromatic as this.

>>68102286

>>68102716

>>68091186
It's actually used frequently in guitar power chords, I guess the main point with parallel fifths is, writing melodies for multiple voices separated by a fifth doesn't sound like there's counterpoint involved. Works for chords though.

So I came up with this system for chord progressions, utilising only major 7 chords. This is how it goes from C major.

C maj7, Db Maj 7, Eb maj7, F maj7, G maj7, A Maj7, Bb maj7

The idea is that everything other than the fifth and the fourth is lowered by one semitone and utilises the maj7 chord, borrowed from the C minor scale.

What do you think? An example of the progression could be C maj7 - Ab Maj 7- F maj7 - Db maj7

>>68097728
Whole tone scale, check Debussy

>>68097728
microtones like penderecki

>>68104496
>7th chords

>>68105277

You can extend to the 9th also.

>>68105932

>>68104496
So, just take a phrygian scale and make maj7 chords on every degree? Yeah fine.

>>68106977

Yeah basically something like that. I know it sounds kind of weird but I have been getting kinda dreamy sounds from it.

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I THOUGHT MUSIC SCHOOL WOULD BE DIFFERENT
I THOUGHT THERE WOULD BE PEOPLE LIKE ME WHO LIKED THE MUSIC I LIKED
INSTEAD IT'S FILLED WITH FUCKING NORMIES
THEY HAVE THE SAME SHIT TASTE AS ALL THE REST
THEY PLAGUE THE NOTES WITH THEIR NORMIE POLITICS
AHHHHHHHHHHHHHHHH

>>68107344
Nah, same shit everywhere. 80% normies.

Be polite to them and do something to find like minded folks.

>>68097728
ive noticed a lot of horror movie soundtracks use the minor second to build tension.
usually used in correllation with a minor chord played as an arpeggio (minor b6 chord, minor 11th chord with third at top)

>>68107916
Augmented major 7 chord comes to mind.

Minor 9th triad (1, 5, min9) in a high pitch.

Slow bass line moving chromatically with occasional tritone steps

>>68108003
> Minor 9th triad (1, 5, min9) in a high pitch.

Or is it actually an augmented 8ve?
1,5,#8

>>68107916
but honestly the most eerie music, is the one that sounds the most otherwordly.

recently ive been listening to https://www.youtube.com/watch?v=ah7jZeMas70 and some of the voices just dont sound like anything ive heard before, i can barely listen to the first one fully through without becoming too freaked out.

>>68108003
and also whale song

i am so fucking terrified of whales

https://www.youtube.com/watch?v=savCAd6RyPI

>>68108139
https://www.youtube.com/watch?v=NXaxWKzTaRc

favorite whale composers?

>>68107866
I'm too nervous to ask string players if they want to play my stuff

>>68097728
Last movement of Berlioz' Symphonie Fantastique
https://www.youtube.com/watch?v=ewoAW-Zyuj8
After being executed for the murder of his girlfriend (previous movement), our protagonist goes to Hell and the witches cackle and sing warped versions of previous melodies

It's pretty eerie

>>68097728
just make pop music

>>68108527
Offer something in exchange, like doing piano accompaniments for them.