MaestroUGC's Compositions *In Progress - Symphony No. 2 in D minor - Mvt. I-IV*

[MaestroUGC]

Writing a string quartet about Robin Hood. This is the first movement.

I. Prince of Thieves

[Jompa]

Amazing!

[MaestroUGC]

Someone once pointed out to me how little music I write for the piano, with most of my output in the area being my arrangements (which hardly count as original compositions). So in an endeavor to write more music suitable for private, singular performances and performers, I set out to write some pieces for the piano. One of my first ideas was to write a collection of short pieces in all 24 major and minor keys, because every good composer needs to have a set of music like that (I'm looking at you Bach and Chopin).

This was about three years ago. I write the first 4 (Nos. 1, 2, 3, and 11 in this set) within a few weeks of each other, but then just forgot about the project altogether shortly thereafter. As time went by I'd remember this little project and try to work on it, but it would just end up being a review of what I had already written. It wasn't until a few weeks ago that I stumbled upon a theme that worked well for this project and now I've finished the first set of 12.

This first set of 12 pieces is in all of the Major Keys, following the circle of fifths. I plan to return to this and write the other 12 minor keys, but going in the opposite direction, and combine the two into a single collection. This first set is around 31 minutes in length.

From the start I wanted these to be character pieces with the idea of a traveler wandering around, experiencing and meeting all kinds of people, seeing all kinds of places and events. So naturally it begins with our traveler setting out on his adventure, ready to see the world.

12 Short Pieces for Piano - "The Traveler Suite"
ZIP

Program of the pieces

No. 1 in D - "The Traveler"
It starts with our Traveler, a young man, setting out into the vast world eager to see all it has to offer.

No. 2 in A - "The Gypsy"
One of the first persons he encounters is a wandering Gypsy, who stops him suddenly along his path. Warned of the Gypsy people he is cautious but soon joins her and her clan in a dance. As the night wears on, he grows intoxicated by her presence and without warning they all vanish without a trace.

No. 3 in E - "The Soldier"
Nearing a city he happens upon a Soldier on Patrol, who regales him of some of his adventures while in the line of duty.

No. 4 in B - "The Widow's Dance"
Wandering around, he sees and old woman in the middle of a plaza who's watching a young couple dance to the band that's playing. He doesn't speak to her, but her eyes tell him of the love she once knew, the man she once held in her arms, and the nights they danced long ago.

No. 5 in G-flat - "The Worker's Song"
On the outskirts of the city the Traveler comes across some men cutting trees in the forest. All the while they're singing a song, keeping time with the pulse of their axes and saws. Night draws near and the men end their work day and head for home.

No. 6 in D-flat - "Festival of the Forest Spirits"
Further along his journey, the Traveler comes across a small folk festival celebrating the Forest Spirits. He joins the fun and learns about the annual forest lights, once attributed to benign Wood Faeries, and witnesses the spectacular light show in the distance.

No. 7 in A-flat - "The Rebel"
In another village, the Travel sees a young boy running through the streets, apparently care-free and having harmless fun. The boy is a bit of a prankster and causes some mischief for the townsfolk who are none the wiser to his antics.

No. 8 in E-flat - "Night in the Forest"
Lost in a dense forest, the Traveler settles down for the night. He hears all sorts of creatures and noises, and the song of a woman far in the distant. Trying to find it, he wanders in the dark, but it only seems to get further away until he stops at the edge of the woods, in total silence.

No. 9 in B-flat - "The Monastery Bells"
Off in the distant mountains, the Traveler can hear the bells of a great Monastery ringing. He pauses, listening closely, and can faintly hear to chants of the monks through the mist.

No. 10 in F - "The Children's Game"
One day the Traveler comes across a stream and decides to rest a bit. Some children run past him, playing a game, and they ask him to join them. He jumps in and spends the day laughing and playing their games.

No. 11 in C - "The Farmers at Their Fields"
Wandering through the country side, the Traveler comes across a small group of farms. Hungry from his journeys, he offers to help in exchange for some food for his travels. He spends the day working the fields, listening to their stories and songs, and leaves the farm lands humming their little tune.

No. 12 in G - "The Voyage Home"
Having travelled far, our Travel begins his voyage home. Has he rides back his mind reminisces on the people he met, the things he'd seen, and stories he heard. As he nears home, he glances back on the road he just travelled, and thinks of the next time he'll journey again.

[close]

[Jompa]

Nice! These were great! My favorites were E, Gb, Db, Bb and F.

[MaestroUGC]

I had originally also wanted to make these easily accessible for younger students, but I hadn't strictly kept to it while writing this work. This isn't a particularly demanding piece, with Nos. 2 and 10 being the hardest due to their suggested speeds, so maybe I actually succeeded with that after all in the long run.

Incidentally, Nos. 1, 3, 6, and 12 are my favorites.

[MaestroUGC]

A few weeks ago I toddled around on my sister's guitar and wrote a thing for this alleged game I'm working on. No idea where it would end up, but possibly something to do with water.

Level Theme J - Draft 1 (SoundCloud)
For this piece I wanted to use an uncommon meter, 5/4. The piece itself isn't harmonically complex, built off the open strings of a guitar. It's a very gentle theme with an upward wave feel characterized by the ascending arpeggio used throughout. In two distinct sections, the first is the simpler of the two rocking back and forth between three chords with and emphasis on the climactic Gm9 in 6/4. The second section shifts to 3/4 and features an more exploratory melody and harmony, eventually settling back on the opening motif.

Level Theme J - Draft 2
The arpeggio is naturally given the the harp and two pianos, with the pianos acting as a sort of fading system, moving from left to right throughout the piece. The Melody is assigned to the flute, harmony to the first violins, and accompanied by soft strings. The piece is further textured by a Vibraphone accenting the chord changes mid way through.

[MaestroUGC]

Oh sure, you all can comment on Slow's compositions which are silly and baby-like, but completely ignore that masterpieces that I craft with the greatest ease.

I see how it is.

I've written more things:
Level Theme 11 (I need to create a better to categorize these things until proper names are made) - D1 SoundCloud
Design to be a more open "Adventure Theme", it has no real melody per se, but it's got a bit of forward motion to the progression. The piano original here was largely just improvisation, a simple bass line under a steadily moving chord progression punctuated by an Eb9 chord. The B section features a climbing figure in the melody and harmony that builds to an Eb progression in the C section that slowly works its way down back to the home key.

Level Theme 11 - D2
The orchestration here features the normal compliment of strings with a Bassoon playing the assumed melody, with those Eb9s represented by Horns and a Celesta, combined in a way that gives it a wintery feel. The rising figure of the B section has a sparse orchestration the first time, building towards a tutti repeat the second time. The C section features the Celesta reinforcing the strings while proving a new countermelody reminiscent of the B section.

Level Theme 12 - D1
This one's a bit more up tempo, with a consistent oom-pah bass-chord figure that dominates the piece. The melody is syncopated to flow with the chords and is a bit "slidey". It's rather hard for the intended effect to come across on a percussive instrument like the piano. Naturally in Mixolydian, midway through the A section with dip into a Dorian mode and some dense tone clusters before resolving back into the home mode. The B section stops the oom-pah infavor of more resonant and open clusters; the pieces slowly works its way down, loses steam and then stops before harshly resuming and returning to the A section.

Level Theme 12 - D2
This initial orchestration has a slightly bigger scope than the previous entry, Strings, Low Brass, Tubular Bells, and an English Horn. The English Horn has the melody throughout the piece and in a high register to really punctuate those slides, often supported by the cellos in full an octave below in a slurred manner. A violin solo occasionally comes in with the melody as well, with the Bells punctuating the work. The Low Brass (3 Trombones, Bass Trombone, and Tuba) act as a drone in the A section and are silent in the B. The B section also scales back everything to just the melody players and basses, until the big return to the A section.

I've also updated the full playlist with everything written up to this point.

[Jompa]

Oh sure, you all can comment on Slow's compositions which are silly and baby-like, but completely ignore that masterpieces that I craft with the greatest ease.

I see how it is.

I think it's got something to do with the fact that your links don't lead anywhere.

[MaestroUGC]

Like I would just give you direct links to my music? You've got to work for it, earn it.

[MaestroUGC]

Fine, I'll make it easy for you guys, links are fixed.

[MaestroUGC]

So level themes are nice and all, but VG music is more than just pretty background music. Sometimes you need a boss theme or some suitable fast paced music for a mini game. So I set out to write some sort of "action music" that can be used to accompany a side mission of sorts. Given the nature of this project, it may not work for this game, but I can always tweak and adapt it  to be used elsewhere.

Action Theme 1 - D1
So right off the bat this is faster than anything else I've written thus far. In G, it starts jauntily enough in the A section, with a nice jumping bass ostinato and a fleeting melody; but it quickly gives way to a darker motif that changes to tone to one of rushed concern. The transition to the B section introduces a new motif while working its way down to E. The B section works with the secondary melody a bit more while the chord changes slowly up the ante. It concludes will another restatement of the mordent motif which resolves by harmonizing back to the home key for the repeat all the while the accompaniment rises in support. Overall it's design to be a quick, concise piece, but open to repeats should the situation call for it.

Action Theme 1 - D2
A fairly standard orchestration here, the usual compliment of strings, Horns and trumpets (first solo then duet), Flute and Clarinet, Timpani and a Japanese Koto. The Basses take the ostinato while the violins and winds take the melody over the strings, horns and timpani in support. The trumpet comes in for the second melody. The repeat of the A section introduces the horns to the texture of the second melody with the Koto playing a galloping figure underneath the action. The B section has the Violins and Flute playing the melody while the rest of the orchestra continues their earlier patterns, with the trumpets eventually rising to a triumphant repeat.

[MaestroUGC]

Level Theme 14 - D1
I keep going to back to wanting to do stuff that's just slightly off kilter, which brings us to this one I wrote a few weeks ago. In C, the A section has a fairly standard oom-pah rhythm underneath a rather plaintive melody. The harmonic structure slowly wanders between C and B, leading to the B section in A. The B section again features a similar harmonic pattern, this time between A and G, with the melody now taking on a triplet rhythm with a new counter melody in the middle voice. The return to the A section is now in D and has the harmonies move a bit as we work our way to the C section. The C section itself is a recall of the B section, this time it's prolonged and now introduces a very Sibelius-like bass line, just kind of hovering underneath everything.

Level Theme 14 - D2
A standard orchestration, but transposed up a major second into D; Flute, Clarinet, Tuba and Strings. The flute takes the entirety of the melody, with the clarinet acting as the counter melody. The bass only presents itself in the B and C sections, tuba only in the C section; this creates an almost bottomless feel when those wandering triplets come in. The strings themselves keep to the rhythmic constant throughout, save for the first violins during the B section.

Boss Theme 1 - D1
What's an RPG without some good fight music? This is actually a take on this earlier proposed villain theme so I figured I relink it for context. It starts with a harsh sting before establishing the syncopated ostinato that will drive the work forward; the ostinato itself is a 4 bar phrase in 3/4 for three and 4/4 for one. The piece is mostly in 3/4 and centers heavily around a gmMaj7. Since it's a reworking of the earlier theme, most of the thematic material is largely unchanged; its the harmonic context that's largely effected, with new layers being added with each iteration of familiar material.

Boss Theme 1 - D2
Like any good boss theme (in my opinion), this one is approached in 3 phases. The orchestration is for a full symphonic orchestra, with each element being added in each successive phase. This was largely designed to grow as the fight would progress, therefore utilizing a variable mix that can adapt to the situation. The balance isn't where'd I'd like it to be in this particular mix, but all the major elements are there so it's just a matter of refinement.

Phase 1 - Strings and percussion. The opening sting is done on full strings with timpani. The ostinato build up is done by the bottom four strings, with the primary melodic content coming from the first violins. The timpani and bass drum act as a sort of accent to the action. A couple new things were added (most notably the descending chromatic pattern between the two statements of the A section) but this component is the core of the piece and the bedrock for the next two phases.

Phase 2 - Winds. Mainly implemented to add additional color and depth to the work. The first come in counter to the strings before joining them properly. The Winds would also mirror (and anticipate) the strings chromatic descent, though diminishing as opposed to the strings crescendo. The final B section and C section sees the piccolo in rapid arpeggios above the rest of the orchestra, in probably to most distinct moment in this phases.

Phase 3 - Brass. The low brass largely richens the bass ostinato by playing a steady drone, with the horns supporting the strings. The trumpets (2 players in octaves) largely act as a counterpoint to the entire affair, going against the rest of the orchestra for most of the climax.

[MaestroUGC]

Level Theme 15 - D1
Strings only, divisi a 3 with a prominent Bass solo. I was in a very meditative mood for this one, and as such it works better for situations where you can just sit still for a bit, away from the action. I have a pretty good idea where this would fit, but we'll see in the long run. You may notice something distinctive about this work, for those of you who will actually hear it.

[SlowPokemon]

I promise you I will listen to all of these and post my thoughts at some point; hang in there. I'm going to be in Michigan with no computer for a week starting today though so it might be a while. .-.

[MaestroUGC]

I wouldn't worry about it too much, I'm mainly just trying to get an idea of how listenable they are in the context of a video game. Specifically if they are tolerable on indefinite repeats.