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hmm I think I liked the musescore one. I liked how the harp and tremolo and pizz strings sounded

@@dankim291 thank you for the reply! Lovely dynamic writing during transition and yes I loved the Musescore as well. Will be following your journey here on TH-cam. Hope to get inspired by your piece.

Thank you for your kind words! If there’s anything I can do to help feel free to reach out anytime!

Thanks!

You can add chord names in Sibelius using Ctrl + K (or Cmnd + K on Mac)

I don't have an official teaching system set up; however, if you'd like to chat about your music, I'm always happy to hop on a phone call, Zoom, or Discord! Just shoot me an email if you're interested!

Thanks! I'll be looking forward to your piece! Will it be on youtube?

haha!

Thanks! I got the idea when we used a wheel for an assignment in my instrumental arranging class and it was so fun I kept doing it haha

Hmm looking back I don’t remember what I was doing haha. (I did this like two years ago I think). There’s definitely some inconsistencies, like in the ‘trio’ I did the cross stave to distinguish LH and RH but in the section right after that I used two voices in one staff instead. I think I did the cross staff in the trio because I thought two voices would break the beam and make it seem like the first note isn’t part of the melody or make it look like it’s the end of the phrase and not the beginning, but I think I prefer the two voice method cause it’s less confusing than seeing the cross stave stuff. Thanks for catching that!

Thanks. The tragedy of losing recordings haha!

It was wonderful chatting with you today, Mr Gleba! :)

@@dankim291: I found it enjoyable, too! You really are a good sport. I meant to ask you which of my works you subjected yourself to.

@@davidgleba3832 I took a listen to the Offertorium: Assumpta est Maria, Sequentia: Dies Irae, Missa in honorem Sanctissimae Trinitatis: Sanctus et Benedictus, and Agnus Dei.

@@dankim291: Ah, thanks! If you are so inclined, check out the Gloria and the Credo from the same Mass.

I absolutely love this piece! (particularly the 2nd and 4th movements). There’s something about the (as you described) whimsical nature of the writing/orchestration as well as his approach to harmony that really piqued my interest. Others like this that I like are Romeo and Juliet (Masks and Death of Tybalt), 10 piano pieces op 12 (humoresque), Love for Three Oranges, and the Lieutenant Kije suite.

I agree! musescore has great sounds but it doesn’t convey well with proper notation. I’m trying to write an orchestra piece in musescore right now and it’s been a struggle. The more I write the more I realize I’m going to have to do a separate score in Sibelius because the notation required to get the “realistic” sounds in musescore is just unrealistic to a performer/conductor trying to read the score. Like the staccatos are great…only if you use staccatissimo wedges. The legatos are great…but it doesn’t distinguish slurred and tongued or detache. Harp sounds great…but only louder than MF. Half the instruments have to be set no quieter than MP for it to be heard, and violas at FFF sound quieter than cellos at P… crescendoing in brass from a quiet to loud dynamic is difficult since it triggers “brassy” brass once you pass MF. But even though I complain about a lot of issues, I’ve been trying to adapt to them and realizing that i just need to treat musescore more like a DAW than a notation program. Kinda like how a movie composer might make their tracks in a daw then export the midi and create a score version for their studio recording session. Also, I realize that musescore sounds is relatively new compared to Noteperformer (which I prefer) and I’m sure in a couple years it’ll be better! :)

It’s my high quality mic stand lol

these arrangements are pretty fun to do!

Fantastic work to you both! Amazing stuff! I hope you collaborate more well into the future!

@@GaryGP40 Daniel, you know what we must do.

Thank you! I’m glad you enjoyed this arrangement!

Thank you! It was great to go see it live, and attending the rehearsal was a wonderful learning experience!

Thank you! Glad I could help!

Thank you for your kind words!

looking forward to doing more!

That’s actually pretty cool! I remember when I was little I saw something like “Elvira Madigan Concerto” on CDs, but I never knew why until now! (I always thought it was a dedication like fur Elise or something)

Thank you!

All great movies! And of course you can’t forget “King’s Row”. I’m surprised how many people don’t see the connection between John Williams and Korngold - always focusing on Williams and how he “stole” from The Planets and stuff like that even though King’s Row’s influence is much more obvious. (Also seahawk is my favorite!)

Thanks! I’m glad you like it!

Of course! I usually clean up notation (like adding tenor clef when needed for bsn/cello) right before doing part extractions. But since this is only a sketch I didn’t get that far into the process

I like to rely on the converter when I’m stuck or writing stuff with friends’ names. I did a sketch (which I should really finish and post someday…) that’s based on the phrase “sad song” haha.

Thank you!

haha I knew I messed up when I kept conducting and everyone else was holding a fermata….

Hi Markus, I didn’t realize one word could make my heart sink as much as it did when I woke up this morning and saw this. It pained me a great deal more since it comes from a fellow composer. It’s not just some 12 y.o. gamer, who thinks classical music and classical period are the same, that says it sounds bad; it’s from a composer who understands music and determined it to be bad. As composers I thought we should be encouraging and supportive of each other’s creative endeavors; not berating them because their musical ideologies or tastes differ from their own. Was I too optimistic? What did I do to compel you to not only disagree with what you heard but feel compelled to type out your disgust (and with no context at that)? If it’s because you view Mozart as sacrilegious, then I’d say two things: I think it’s every composer’s honor to just be able to have their music outlive and not die with them. For every Mozart there’s an unknown Bach son. For every Beetles there’s an obscure indie group (idk much pop music). There are millions of artists on Spotify that only get played 4 times and 4 artists that get played millions of times. And what would Mozart prefer? People appreciating his music by keeping it alive in their own music (even if it is admittedly inferior)? Or people appreciating his music by getting offended on his behalf for even trying to (because for some reason getting offended on a dead guy's behalf makes them morally (or in this case artistically) superior for being a staunch follower of the archaic rules of 18th century tonal music)? (Although I have argued in previous comments that composers from every century go back to the fugue for a reason - it’s just good. But even then, while the fugal structure stays the same, the musical language is adapted to that of their current times). Now if it’s just because you disagree with the style I write in, then that just says something about your character more than it does my music. I’ll be honest, im not a fan of avante-grade music (think Xenakis or Crumb) nor some kinds of minimalist (Glass or Zimmer). But that doesn’t mean I think it’s awful music. I just think it’s a style that doesn’t resonate with me but is still music I can learn from and appreciate its contribution to the overall development of music.

Now I know I should just ignore comments like these and not let it get to me, but I wanted to reply to this one to emphasize that no amount of sincerity in an artist’s work (or what they display on their own platform) excuses them from the insincerity of their actions elsewhere. Especially if you’re someone who’s in a similar position of sharing your creativity with the public and expecting positive words for your own work. And, I think it’s wrong for a composer to go around discouraging other composers without providing productive criticism or feedback - or at least a reason for why they’re doing so. If I expect words of encouragement for my music then I’m obligated to return the same for others. It’s not just respectful, we have more to gain from learning from others than attacking others.

@@dankim291 hey Dan, I’m really sorry for my comment. After I posted it, I actually felt compelled to retract but it was in the spur of the moment and I’ve had a busy day so far. You are clearly competent in your specialism and I do respect that. And to describe it as horrendous is entirely unfair. I know how much work we put into these things. I was indeed coming from a place of personal taste. And it was a comment made without considering the person behind the work. Please accept my apology, Dan.

thanks for the explanation, I really appreciate it! And an apology is totally not necessary! - what I was hoping for was to try and turn a negative comment into a positive relationship, and I think we accomplished that! :) Hope the rest of your day goes well!

(Also I've gotten the chance to listen to some of your work - I'm really amazed by how you handled the musescore sounds to work in a classical style! I've always struggled to adapt to its quirks (like how you have to use those staccatissimo wedges to get staccatos to work))

Thanks!

musescore is definitely more realistic but harder to use. And not because of the software itself but cause of having to manage all the issues in articulations, balance, and other bugs and glitches we have to work around because the musescore team haven’t addressed it yet.

Thanks! Yea I want to try and do more of these “extras” to show all the stuff that you can’t see by just looking/hearing the final version.

@@dankim291Please, continue to do so! I myself usually don't keep different stages of my work but simply overwrite it. It's really fascinating to learn about your variant ideas and see how you eventually decide in the end.

Yea the first thing I thought when I decided to do 400 bpm was “this is such a Beethoven thing to do lol” As for the Williams, I might’ve been influenced by the fact that I recently binge watched all the Indiana Jones movies…again…haha

Thanks!

haha nice! (also how did you make that bold?)

@@dankim291 Just put asterisks around the word you want *bolded* :)

*ohhh* that’s pretty neat, thanks!

Spot on haha “A movie for the whole family…”

Thanks for your kind words, Dylan! It's always great to hear someone knows and appreciates Korngold and his influence on classical and film music. But I definitely need to do waaaay more work before even coming close to matching Korngold's style haha.

My composition teacher always made a point to say how we can never be as good as our idols. They are really untouchable and all we can do is our best 😂 In an age where this style of writing isn’t common and isn’t the most popular form of music, it is refreshing. Would love to hear more.

It's funny you say that. My prof said (well more like implied) that this style is outdated and I should do more "avante-garde" stuff. And honestly I don't know how to feel about that. It feels like having to write in two different styles: one that I like and is more palatable to non-musicians, and one that's meant to appease the academics who want more things that "push the boundary" of music. And I hate to take any sides, because while I am emotionally moved when hearing the lush harmonies of Korngold's Sea Hawk and indifferent towards the technical structure of Xenakis' Metastasis, some friends of mine will feel the opposite - so it's clear that not everyone is moved by the same kind of music. But, there is definitely a "style" that I need to adopt to become "accepted" in the academic world....

I was thinking so too when writing it haha

Thanks! Glad you enjoyed it!

Thanks!