Composition Thread

[sidis 9713]

19 hours ago, Goredho said:

Work and family demands are really sucking away my time these days, so I just got to listen to your trance hop here.  I am not a huge fan of the genre, but this was good and more appealing and interesting to me than most examples I’ve heard.  How’d you program the beat in logic?

I made the beat using the new step sequencer in logic.  that was part of the reason i put the track together in the first place.  logic just did a big update and one of the things they added was a really cool and versatile step sequencer for the various drum kits.  this was the result of playing around with that a bunch.

[Goredho 17301]

39 minutes ago, sidis said:

I made the beat using the new step sequencer in logic.  that was part of the reason i put the track together in the first place.  logic just did a big update and one of the things they added was a really cool and versatile step sequencer for the various drum kits.  this was the result of playing around with that a bunch.

Cool, good to know about.  Thanks for the share.

[sidis 9713]

"On the Nature of Daylight" is one of my favorite pieces written in the last 20 years.  It was written for a string quintet and its intimacy is part of what makes it work so well.  So I of course took on the challenge of ratcheting up the scale and rearranged it for an entire orchestra and piano.  It is a long, slow build that finishes with a lot of sound.

 

 

 

 

Edited June 18, 2020 by sidis

[Goredho 17301]

On 6/17/2020 at 10:32 PM, sidis said:

"On the Nature of Daylight" is one of my favorite pieces written in the last 20 years.  It was written for a string quintet and its intimacy is part of what makes it work so well.  So I of course took on the challenge of ratcheting up the scale and rearranged it for an entire orchestra and piano.  It is a long, slow build that finishes with a lot of sound.

 

 

 

 

Not sure how I missed this back in June, but I really like that @sidis.  I wasn't aware of the original and went back and listened to it afterwards.  Agree its a great and moving piece and your arrangement does a good job of upping the scope.

[Goredho 17301]

New piece I just wrapped up.  This is my heaviest piece and strongly inspired by Ennio Morricone, who I think is just the bomb.  I was already recording this when he passed, so it was kind of weird to be working on this at the same time.  Its probably a bit overly ambitious, and would probably be a better composition if it was whittled down a bit.  Alas, I have to set it aside for now.
 

 

[sidis 9713]

14 hours ago, Goredho said:

New piece I just wrapped up.  This is my heaviest piece and strongly inspired by Ennio Morricone, who I think is just the bomb.  I was already recording this when he passed, so it was kind of weird to be working on this at the same time.  Its probably a bit overly ambitious, and would probably be a better composition if it was whittled down a bit.  Alas, I have to set it aside for now.
 

 

Badass, dude.  Morricone is obviously the godfather OG and his passing was tragic.  Everyone in our world should be mourning as his influence will likely never cease.  Great job on the tribute. 

The D-E-F-A-F-E-D-C-B melodic theme with the flourishes starting at 0:20 and 4:46 are absolutely on point for Morricone.  That is really nice.  Feels like Clint is coming around the corner.  That part from 4:46 to the end, the influence shines through hard and builds nicely all the way to the end which is strong.  The distortion transition at 7:35 is brilliant...love it.  Ratchets up the spaghetti western element of Ennio's career.  I honestly wonder if you do not have two different songs here though.  Part of me really would like to hear from the beginning to 3:05 and then 4:46 to the end on its own as a tribute piece.  The rock out at 3:06 to 4:45 feels like its own piece to me.  Not that there is anything wrong at all with a more medley type tribute but if so, I wonder if there is a way to make the transition from 4:40 to 4:46 a bit smoother...maybe start the light touch drumming a bar earlier or something so that it seamlessly continues during the suspension at 4:43-4:46.  Just my observation/opinion obviously so take it for what it is worth.  Also, you are using a limiter in mastering, right?  Thought I heard some clipping at 3:37-ish but I am on a significant schedule 2 narcotics right now so I may be imagining things.

Overall, love it.  Really great tribute from a composition perspective and well executed.  Really wish I could play the guitar as well as you.

 

[Goredho 17301]

23 minutes ago, sidis said:

Badass, dude.  Morricone is obviously the godfather OG and his passing was tragic.  Everyone in our world should be mourning as his influence will likely never cease.  Great job on the tribute. 

The D-E-F-A-F-E-D-C-B melodic theme with the flourishes starting at 0:20 and 4:46 are absolutely on point for Morricone.  That is really nice.  Feels like Clint is coming around the corner.  That part from 4:46 to the end, the influence shines through hard and builds nicely all the way to the end which is strong.  The distortion transition at 7:35 is brilliant...love it.  Ratchets up the spaghetti western element of Ennio's career.  I honestly wonder if you do not have two different songs here though.  Part of me really would like to hear from the beginning to 3:05 and then 4:46 to the end on its own as a tribute piece.  The rock out at 3:06 to 4:45 feels like its own piece to me.  Not that there is anything wrong at all with a more medley type tribute but if so, I wonder if there is a way to make the transition from 4:40 to 4:46 a bit smoother...maybe start the light touch drumming a bar earlier or something so that it seamlessly continues during the suspension at 4:43-4:46.  Just my observation/opinion obviously so take it for what it is worth.  Also, you are using a limiter in mastering, right?  Thought I heard some clipping at 3:37-ish but I am on a significant schedule 2 narcotics right now so I may be imagining things.

Overall, love it.  Really great tribute from a composition perspective and well executed.  Really wish I could play the guitar as well as you.

 

Thanks for the feedback, and I have some similar feelings.  Not sure this is a single work as much as a collection of compositional elements that might be better partitioned differently and not in a single piece.  I might rework it down the road, but I need to let it gestate a bit in my mind in its current state.

I am using some minimal compression during mastering, but it might need to be tweaked.  I did look to see that peaks are not clipping, but they get damn close.  Btw, this was my first piece in Logic Pro X, which I am starting to really like.  I can do everything I was doing with Garage Band, but am still only scratching the surface of Logic's additional features.  I'll see if a limiter makes a diff.

I was kind of surprised that there wasn't an Ennio thread when he died, but guess I could have started one.  One thing I think Morricone did better than anyone has and probably ever will is deliver epic soundscapes that were the perfect sonic analog to the epic landscapes of the American west.  I don't think those Sergio Leone films would have been nearly as remarkable without the grandeur of their scoring.

[sidis 9713]

45 minutes ago, Goredho said:

Thanks for the feedback, and I have some similar feelings.  Not sure this is a single work as much as a collection of compositional elements that might be better partitioned differently and not in a single piece.  I might rework it down the road, but I need to let it gestate a bit in my mind in its current state.

I am using some minimal compression during mastering, but it might need to be tweaked.  I did look to see that peaks are not clipping, but they get damn close.  Btw, this was my first piece in Logic Pro X, which I am starting to really like.  I can do everything I was doing with Garage Band, but am still only scratching the surface of Logic's additional features.  I'll see if a limiter makes a diff.

I was kind of surprised that there wasn't an Ennio thread when he died, but guess I could have started one.  One thing I think Morricone did better than anyone has and probably ever will is deliver epic soundscapes that were the perfect sonic analog to the epic landscapes of the American west.  I don't think those Sergio Leone films would have been nearly as remarkable without the grandeur of their scoring.

Not even close.  Ennio was the most important element of all those movies by a longshot.  second place was the cinematography.  his versatility ranging from those to the sounds of the mission and once upon a time in america (which many film music professionals hold up as the greatest ever) is pure genius.  i would have started a thread but i was having surgery when it happened and am just now kind of getting back on the horse.

the limiter will make all the difference in the world.  set it to -1.0 db for streaming.  the one built into logic will get the job done but i've got some pretty cool third party shit (izotope ozone9 and neutron3) that can make a big difference on the mix and mastering as well.  if you want to send me a link to the logic project file with the different audio tracks in it, i can unleash that software on it to see if it makes any difference.  it will absolutely 100% not replace an actual mixing/mastering engineer in a studio, but for hobbyists like us, it can really make a big difference in elevating something to a bit more professional level.  Anyway, happy to do it if you would like.  Nice work once again.

[Goredho 17301]

2 hours ago, sidis said:

Not even close.  Ennio was the most important element of all those movies by a longshot.  second place was the cinematography.  his versatility ranging from those to the sounds of the mission and once upon a time in america (which many film music professionals hold up as the greatest ever) is pure genius.  i would have started a thread but i was having surgery when it happened and am just now kind of getting back on the horse.

the limiter will make all the difference in the world.  set it to -1.0 db for streaming.  the one built into logic will get the job done but i've got some pretty cool third party shit (izotope ozone9 and neutron3) that can make a big difference on the mix and mastering as well.  if you want to send me a link to the logic project file with the different audio tracks in it, i can unleash that software on it to see if it makes any difference.  it will absolutely 100% not replace an actual mixing/mastering engineer in a studio, but for hobbyists like us, it can really make a big difference in elevating something to a bit more professional level.  Anyway, happy to do it if you would like.  Nice work once again.

Glad you are back on the horse

Thanks for the offer to throw your mastering tools at it.  I wonder if it's time I try out the izotope 7 day trial.  And speaking of  logic project files, what are you doing for backups?  Just normal backups with time machine?

[sidis 9713]

2 hours ago, Goredho said:

Glad you are back on the horse

Thanks for the offer to throw your mastering tools at it.  I wonder if it's time I try out the izotope 7 day trial.  And speaking of  logic project files, what are you doing for backups?  Just normal backups with time machine?

External hard drive for backups. 

[Goredho 17301]

@sidis I have to say thanks for hooking me up with Ozone.  I bought a bass and re-recorded the detuned-guitar bassline on this track with a real bass and remixed with Ozone and its like, way, way better.

Real Bass + Ozone:

Pitch-shifted guitar + Goredho the shitty master engineer:

 

Edited August 24, 2020 by Goredho

[sidis 9713]

good stuff, dude.  i loaded this up on loud on my best monitors.  the second sounds like listening to the same song though an ocean of water in comparison.  the maximizer alone is a massive difference.

nice work.  i figured you would see the value of it pretty quickly.

[Goredho 17301]

1 minute ago, sidis said:

good stuff, dude.  i loaded this up on loud on my best monitors.  the second sounds like listening to the same song though an ocean of water in comparison.  the maximizer alone is a massive difference.

nice work.  i figured you would see the value of it pretty quickly.

Yeah, probably going to splurge on their full suite at some point including Ozone and Neutron.

[Goredho 17301]

New song time.  This one is very much a prog rock work.  Of my longer pieces, I think this is the most complete and solid arrangement.  Thanks, @sidis for hooking me up with Ozone.  Its really made my masters less crappy
 

 

[sidis 9713]

Good stuff as usual, Goredho.  The new bass sounds good and coming through nicely.  Is that the helix wah effect there at the beginning or something else?  i'd say this is one has the feel of a medley with some pretty intense transitions (not surprising given that you call it parts 1 - 6).  the solo guitar work on top is absolutely the star of the show as always.  i like the saturated reverb feel of the last part.  

timely as i have just started getting back to a place where I can sit at the controller and computer for long enough to start putting something new together yesterday.  have a foundation i am building off of now.

hopefully, @NoRagrets and @Rimbo will start adding some stuff here as well.

[Goredho 17301]

19 minutes ago, sidis said:

Good stuff as usual, Goredho.  The new bass sounds good and coming through nicely.  Is that the helix wah effect there at the beginning or something else?  i'd say this is one has the feel of a medley with some pretty intense transitions (not surprising given that you call it parts 1 - 6).  the solo guitar work on top is absolutely the star of the show as always.  i like the saturated reverb feel of the last part.  

timely as i have just started getting back to a place where I can sit at the controller and computer for long enough to start putting something new together yesterday.  have a foundation i am building off of now.

hopefully, @NoRagrets and @Rimbo will start adding some stuff here as well.

Thanks.  Yeah, that greasy wah sound is an envelope filter I added to the guitar with the helix.  I was aiming for a borderline silly, Gary Numan-ish analog keyboard sound and it did well enough.  Most of the guitar work is done with my Eastman, which is an ES-335 clone.  So a semi-hollow.  I've been spending more time refining the tone on my presets.  I'm still learning about the helix and how to use it to get what I want to hear.

Really glad to hear you are getting back in the saddle, and yes, would love to see @NoRagrets, @Rimbo become more involved.

[Rimbo 25752]

As you can tell from the title of my piece, it's been a few decades. The little I've done in the past decade is occasionally contributing a bass line...

...or remix and/or cello...

... to my good friend/fellow UT classmate Marc Gunn.

I'm actually doing something like that right now, but hopefully a little better than these efforts.

[Rimbo 25752]

ah wait, i thought this was the share your music thread... delete/ban me...

[Goredho 17301]

Can't listen right now, but looking forward to when I can

[sidis 9713]

and right on cue timing-wise...

 

[Goredho 17301]

Love your ambient pieces, @sidis.  What's the story behind this one?

[Goredho 17301]

23 hours ago, Rimbo said:

As you can tell from the title of my piece, it's been a few decades. The little I've done in the past decade is occasionally contributing a bass line...

...or remix and/or cello...

... to my good friend/fellow UT classmate Marc Gunn.

I'm actually doing something like that right now, but hopefully a little better than these efforts.

 

23 hours ago, Rimbo said:

As you can tell from the title of my piece, it's been a few decades. The little I've done in the past decade is occasionally contributing a bass line...

...or remix and/or cello...

... to my good friend/fellow UT classmate Marc Gunn.

I'm actually doing something like that right now, but hopefully a little better than these efforts.

Well done, I like both of your contributions.

[Rimbo 25752]

4 minutes ago, Goredho said:

 

Well done, I like both of your contributions.

Thank you.

I wasn't very happy with the bass line on "Shire." In retrospect, it's not that bad. I was trying something new on my tone, overdriving the preamp to distortion.

"Rose" -- his original recording was a capella. I added everything else -- the Enya reverb, the percussion, the synth pad. The thing is, he doesn't use a click track. So I was all geared up to time shift the vocals to fit. Tried it, too, but it was messy and ruined. 

THEN I realized... his vocals were clockwork. They just didn't have the same number of beats per measure. I ended up only time shifting like... once. And the rest is that changing-time-signatures result you hear here.

[sidis 9713]

5 hours ago, Goredho said:

Love your ambient pieces, @sidis.  What's the story behind this one?

appreciate it.  no real story.  I developed the ricocheting strings sound in zebra soft synth program and wanted to make something predicated on that.  there's a small cello and violin section doing the high/lows and a bellowing synth drone sound i made at the low end.  there's very subtly an orchestral horn section and a piano in there adding some umph at a few spots.

[Whitewater Horn 965]

Lots of cool and interesting stuff here and in the share your music thread. I’ve been looking to move beyond the pointless jamming I’ve been doing for so long and finally commit to real composition and recording. Can someone recommend some quality PC daws that allow for both composing with loops & samples and recording external guitars etc? I already have some recommendations for audio interfaces and other basics. Hopefully someday I’ll have a setup to record live drums other than my V-drums, but for now I’m happy to create beats and loops. Any recommendations and feedback is greatly appreciated!

[sidis 9713]

On 12/7/2020 at 4:43 PM, Whitewater Horn said:

Lots of cool and interesting stuff here and in the share your music thread. I’ve been looking to move beyond the pointless jamming I’ve been doing for so long and finally commit to real composition and recording. Can someone recommend some quality PC daws that allow for both composing with loops & samples and recording external guitars etc? I already have some recommendations for audio interfaces and other basics. Hopefully someday I’ll have a setup to record live drums other than my V-drums, but for now I’m happy to create beats and loops. Any recommendations and feedback is greatly appreciated!

Haven’t been in this thread for a while so apologies. For long response time but Logic Pro is what I use and it seems to have an endLess library of loops. I don’t use them much but there is just so much stuff. 

you can’t go wrong with logic, ableton, or cubase imo but logic has the most embedded, prepackaged content. 

[Whitewater Horn 965]

3 hours ago, sidis said:

Haven’t been in this thread for a while so apologies. For long response time but Logic Pro is what I use and it seems to have an endLess library of loops. I don’t use them much but there is just so much stuff. 

you can’t go wrong with logic, ableton, or cubase imo but logic has the most embedded, prepackaged content. 

From the research I’ve done, Ableton and Logic are always in the mix of recommendations, and I’ve been leaning in that direction. Thanks for the information.

[Goredho 17301]

I can’t say anything Sidis hasn’t, Logic is the shit but it’s Mac not PC.  If Mac is an option, I might recommend starting with Garage Band because it’s free, easy, pretty powerful and has an easy upgrade path to Logic when/if you outgrow it.  I think @jimmyjazz is using Reaper which is cross platform and can be used on PC or Mac.  He might can speak more to it.

[SwanderedTalent 5761]

On 12/7/2020 at 4:43 PM, Whitewater Horn said:

Lots of cool and interesting stuff here and in the share your music thread. I’ve been looking to move beyond the pointless jamming I’ve been doing for so long and finally commit to real composition and recording. Can someone recommend some quality PC daws that allow for both composing with loops & samples and recording external guitars etc? I already have some recommendations for audio interfaces and other basics. Hopefully someday I’ll have a setup to record live drums other than my V-drums, but for now I’m happy to create beats and loops. Any recommendations and feedback is greatly appreciated!

I use Audacity (free) and a $50 Blue Snowball condenser to record from a close-mic'ed Katana amp isolated in a closet. I don't do anything direct, which is probably dumb but oh well. My setup lets me multitrack by playing back through monitor speakers on my desktop-- the amp is loud enough that I can hear it fine without having to mess with real-time playback/playthrough.

Same setup for acoustic guitar, but I move the laptop and mic to the master bedroom closet upstairs and just play with the sound hole close to the mic. 

I have never tried recording vocals. Maybe next year. 

Audacity has a lot of mixing and mastering stuff built in, but I don't really know how to mix or do any of that producer shit so I just guess. I'm just lucky when I get the levels right and everything sounds relatively equal/appropriate. 

So my shit is totally bargain basement, but the end result is what I consider decent lo-fi. It may sound like shit to someone with better ears than mine, and/or someone who understands mixing, but to me it's effective enough to produce multi-track song stems I can share. 

[sidis 9713]

latest here...a friend of mine is making a period piece short and asked me to score a primary theme and montage for it. viewed it as an opportunity to try and explore some baroque themes ala vivaldi and bach...with lots of competing counterpoint. there's a solo violin, solo viola, solo oboe, and solo french horn all dueling by the end. admittedly, the song is a bit cheesy but it "tied the room together."  i ran the violin solo patch through my ethereal guitar pedal and reverbed the shit out of it to give it that overly-dreamy sound. everything here is achievable in performance though...except @Mole may say that the pitch/dynamic range placed on the french horn towards the end may make the performer pass out.

 

 

 

Edited January 25, 2021 by sidis

[Goredho 17301]

Very very nice, @sidis.  Matches well the context for the song that you described.

[jimmyjazz 45512]

On 12/18/2020 at 9:07 AM, Goredho said:

I think @jimmyjazz is using Reaper which is cross platform and can be used on PC or Mac.  He might can speak more to it.

I do use Reaper, but exclusively as a virtual multitrack machine.  I've never gotten into loops, etc., although I'd like to.  My writing & band partner has been digging into that side of Reaper so I'm going to follow his lead.

[SwanderedTalent 5761]

On 1/25/2021 at 8:30 AM, sidis said:

latest here...a friend of mine is making a period piece short and asked me to score a primary theme and montage for it. viewed it as an opportunity to try and explore some baroque themes ala vivaldi and bach...with lots of competing counterpoint. there's a solo violin, solo viola, solo oboe, and solo french horn all dueling by the end. admittedly, the song is a bit cheesy but it "tied the room together."  i ran the violin solo patch through my ethereal guitar pedal and reverbed the shit out of it to give it that overly-dreamy sound. everything here is achievable in performance though...except @Mole may say that the pitch/dynamic range placed on the french horn towards the end may make the performer pass out.

 

 

 

the only word I have for what you do is "impressive"

[Mole 4318]

On 1/25/2021 at 9:30 AM, sidis said:

latest here...a friend of mine is making a period piece short and asked me to score a primary theme and montage for it. viewed it as an opportunity to try and explore some baroque themes ala vivaldi and bach...with lots of competing counterpoint. there's a solo violin, solo viola, solo oboe, and solo french horn all dueling by the end. admittedly, the song is a bit cheesy but it "tied the room together."  i ran the violin solo patch through my ethereal guitar pedal and reverbed the shit out of it to give it that overly-dreamy sound. everything here is achievable in performance though...except @Mole may say that the pitch/dynamic range placed on the french horn towards the end may make the performer pass out.

 

 

 

It sounds good and that horn line is nice. It tops out at a written Bb for the horn? The line would take a good player, but it’s playable and would make a strong player sounds really good. My general philosophy is to err on the side of easier if you want it to be widely playable, but good music is more important. Fun to play is worthwhile too.

[sidis 9713]

17 minutes ago, Mole said:

It sounds good and that horn line is nice. It tops out at a written Bb for the horn? The line would take a good player, but it’s playable and would make a strong player sounds really good. My general philosophy is to err on the side of easier if you want it to be widely playable, but good music is more important. Fun to play is worthwhile too.

thanks, mole.  

it is written in Bb but the horn tops out in an Eb4.  between that and the sustained Bb at 4:44, i suspect it would strain quite a bit but just have to have a good performer.  as i was writing the counterpoint for the horn, oboe, viola, and violin towards the end, i was really happy with the way the feel the horn was giving and gave it mixing preference and complexity preference.

[Mole 4318]

4 hours ago, sidis said:

thanks, mole.  

it is written in Bb but the horn tops out in an Eb4.  between that and the sustained Bb at 4:44, i suspect it would strain quite a bit but just have to have a good performer.  as i was writing the counterpoint for the horn, oboe, viola, and violin towards the end, i was really happy with the way the feel the horn was giving and gave it mixing preference and complexity preference.

If that's a Bb part, that long note would be a top line F for horn in F, which isn't that big of a deal. It's a big breath, but doable. The peak of the ascent towards the end reminds me of something that I can't put my finger on. It has shades of Barber Adagio for Strings with the tension/resolutions, but there's something else that it reminds me of that I can't place and it's really bugging me. Other than the guitar/fake violin, what are you working in for the audio?

[sidis 9713]

11 hours ago, Mole said:

If that's a Bb part, that long note would be a top line F for horn in F, which isn't that big of a deal. It's a big breath, but doable. The peak of the ascent towards the end reminds me of something that I can't put my finger on. It has shades of Barber Adagio for Strings with the tension/resolutions, but there's something else that it reminds me of that I can't place and it's really bugging me. Other than the guitar/fake violin, what are you working in for the audio?

Everything except the solo violin is sampled software instruments.  It is all sampled from the BBC Symphony Orchestra:

https://www.spitfireaudio.com/shop/a-z/bbc-symphony-orchestra-professional/

usually i would throw in some electronic, synth generated stuff for fun and to enhance certain aspects but this will likely be arranged and recorded so i wanted it to be completely playable.

as to what it is reminiscent of...not sure what it is you're associating.  unlike a few of the tracks on this thread i've posted, it is 100% original with nothing borrowed or recomposed.  what i was going for was something that conveyed the light-hearted nature of some of the baroque sound without imposing the super rigid, mathematical structures of the period but that instead had a building dynamic (which may be why barber is popping into your head) that is more contemporary.  i could see a little bit of ravel, a little bit of copland on the brass.  but i would definitely be interested if it comes to you.

[sidis 9713]

couple of new ones inspired/made during last week's weather.  minor massive attack and heavy steven reich influence on "iced in" and heavy melodic influence from elliot goldenthal on "neve che cade."

 

 

[Goredho 17301]

On 2/25/2021 at 12:13 PM, sidis said:

couple of new ones inspired/made during last week's weather.  minor massive attack and heavy steven reich influence on "iced in" and heavy melodic influence from elliot goldenthal on "neve che cade."

 

 

Really good stuff.  I like the buildup through Neve Che Cade.  Starts out melancholy but builds to something tragic.  It would work really well for the climax of a movie without a happy ending.  I'm thinking like Road to Perdition or something like that.

Iced in is cool.  The tempo and sparseness in the beginning works really well for conveying the sense of isolation that must have been felt at the time, and then when the larger pad sounds come in, full but shimmering, it conjures a scene in my minds eye of a vast ice-scape.  I think you captured something there that is evocative of the time.  Good work as always

[sidis 9713]

On 1/25/2021 at 8:30 AM, sidis said:

latest here...a friend of mine is making a period piece short and asked me to score a primary theme and montage for it. viewed it as an opportunity to try and explore some baroque themes ala vivaldi and bach...with lots of competing counterpoint. there's a solo violin, solo viola, solo oboe, and solo french horn all dueling by the end. admittedly, the song is a bit cheesy but it "tied the room together."  i ran the violin solo patch through my ethereal guitar pedal and reverbed the shit out of it to give it that overly-dreamy sound. everything here is achievable in performance though...except @Mole may say that the pitch/dynamic range placed on the french horn towards the end may make the performer pass out.

 

 

 

something to accompany this project...you can imagine how it might fit in.  while the above was in b-flat major, i wanted to shift to b-flat minor to bring a bit more sentimentality to it, but still retain a feeling of triumph/whatever which is not the easiest thing in this key.  melody at the end is a bit corny but i like it.