Blue Hour Crucible (2011)
for saxophone quartet, piano & offstage bass trombone

Premiered April 6, 2011 (as “Nachtstücke: III. Dämmerung”)
Phillip T. Young Recital Hall, University of Victoria, Canada
Quartet Axis, Allannah Montgomery (piano), Tim Pearce (trombone)

This work was composed and performed as a final assignment for the introduction to music composition course I attended in my first year of university. No constraints were placed on the techniques or instrumentation the composers could use, as long as they could find, organize, and rehearse the players needed. Initially intended as the final of three movements, this piece is one of my few compositions to actually receive a public performance. I had aspirations to recruit an even larger and more diverse ensemble, but the conditions under which this project was put together demanded increasing economy along any dimension possible. However, I hold a deep gratitude to musicians I worked with on this project: first-year friends and saxophone studio peers. Their patience and openness was more than I could have ever asked for.

By April 2011, I had hit a productivity wall: a culmination of multiple self-defeating dynamics my life that I lacked the framework to even begin dismantling. Undermining my academic, personal, and emotional worlds, this situation turned the creation of this composition into a breaking point. The writing was not happening and, despite trying to make progress for days, hours, and minutes before the performance, I only managed to squeeze something together at the last  minute possible: during the concert itself, though slightly before my own performance. I felt a lot of shame during this process, compounded by later being rejected from the composition program. In reality, it took years to untangle the factors that led to that failure and those that followed in the years to come – I was not ready for those opportunities. Future pieces will address the explorations that helped me pull myself out of that situation, beginning to develop a compositional process that worked for me.

The piece itself adopts a formal structure inspired by Terry Riley’s “In C”: each musician is assigned a set of motivic cells, repeating one cell at a time as long as they choose and then moving on to the next. Unlike Riley’s piece, each player has unique musical material and the repeating cells are preceded by a rhythmically-free introductory section. In the original performance, the unified pulse was given by an audible metronome, though my current preference would be to use a conductor giving unmetered beats. The saxophone quartet and piano remain in one harmonic space, while colourations from the distant trombone shift the overall context, creating a free sense of progression. As the piece progresses, all players are instructed to crescendo to a final fortissimo and complete all cells by the end. Ideally, the duration of the work follows the timing of the local blue hour, though the initial performance ran until the metronome stopped.

Version notes:
This playback demo was created using MuseScore 4 and the Muse Sounds and MS Basic libraries. Modifications to the original score include minor shifts in register (to increase transparency between the different instruments) and removal of an audible metronome as a timekeeper.

Blue Hour Crucible (2011)

Fantasia (2019) 
on “Highland Cathedral”
for saxophone quartet

Premiered August 2019 at a private wedding in Metchosin, Canada
B.T. Williams Quartet

In 2019, a dear friend hired the currently-defunct B.T. Williams Quartet and I to provide music for her wedding. In addition to helping put together programs of various classical and pop hits for their ceremony and reception, I composed this short piece to act as a recessional, as the conventional wedding repertoire lacked a certain personal resonance for the occasion.

A set of free variations on the Highland bagpipe tune, “Highland Cathedral,” the work takes inspiration the formative bonding my friend and I experienced in high school concert and jazz bands, as well as whatever the opposite of bonding is, regarding her adoration of bagpipe music. (The B.T. Williams Quartet had spent many summers jockeying against strident pipers for the prime busking locations in Victoria’s Inner Harbour, and I had worked nearby, within earshot of too many dubious renditions of “Scotland the Brave.”) The bride and groom got engaged while travelling Europe, in an ancient Scottish church where ancestors of the bride had once been married, so this particular melody seemed especially appropriate. 

Version notes:
This playback demo was created using MuseScore 4 and the Muse Sounds libraries.

Fantasia (2019)

Arranged in 2019 for the B.T. Williams Quartet, a saxophone quartet (with added percussion instruments) busking in the Victoria, British Columbia area

Original written by Angus Young and Malcolm Young, recorded by AC/DC

This playback demo was created using MuseScore 4 and the Muse Sounds and MS Basics libraries. Tracks were processed to repair artifacts in the Muse Sounds samples before final mixing and mastering.

Nightmare-fuel AI artwork courtesy of Leonardo.ai

AC/DC – Thunderstruck (arr. for sax quartet)

Arranged in 2019 for the B.T. Williams Quartet, a saxophone quartet (with added percussion instruments) busking in the Victoria, British Columbia area

Based on the version composed by Michael Giacchino for Mission: Impossible III; original theme by Lalo Schifrin.

This playback demo was created using MuseScore 4 and the Muse Sounds and MS Basics libraries. Tracks were processed to repair artifacts in the Muse Sounds samples before final mixing and mastering.

AI artwork courtesy of Leonardo.ai

Mission: Impossible Theme (arr. for sax quartet)

Transcribed and arranged in 2019 for the B.T. Williams Quartet, a saxophone quartet (with added percussion instruments) busking in the Victoria, British Columbia area

The Marvel Studios fanfare was originally composed by Michael Giacchino
"The Avengers" was originally composed by Alan Silvestri

This playback demo was created using MuseScore 4 and the Muse Sounds and MS Basics libraries. Tracks were processed to repair artifacts in the Muse Sounds samples before final mixing and mastering.

Nightmare-fuel AI artwork courtesy of Leonardo.ai

Avengers Assemble! (arr. for sax quartet)

Transcribed and arranged in 2019 for the B.T. Williams Quartet, a saxophone quartet (with added percussion instruments) busking in the Victoria, British Columbia area

The Pokémon Theme, from the TV series, was originally written by John Siegler and John Loeffler.
The Battle Music was originally composed by Junichi Masuda

This playback demo was created using MuseScore 4 and the Muse Sounds and MS Basics libraries. Tracks were processed to repair artifacts in the Muse Sounds samples before final mixing and mastering.

Actually cute AI artwork courtesy of Leonardo.ai

PokéSax

a theme songie for ravancloak's oc :D

vespa arson fighter girl 

mscz4 muse sounds

Flame in Hand, Wind in Hair

Arranged in 2019 for the B.T. Williams Quartet, a saxophone quartet (with added percussion instruments) busking in the Victoria, British Columbia area

Original written by Jon Bon Jovi, Richie Sambora, and Desmond Child, recorded by Bon Jovi

This playback demo was created using MuseScore 4 and the Muse Sounds and MS Basics libraries. Tracks were processed to repair artifacts in the Muse Sounds samples before final mixing and mastering.

Nightmare-fuel AI artwork courtesy of Leonardo.ai

Bon Jovi – Livin' On A Prayer (arr. for sax quartet)

Arranged in 2011 for the saxophone studio of the University of Victoria School of Music. Years later, this arrangement was performed more widely by the B.T. Williams Quartet, a saxophone quartet (with added percussion instruments) busking in the Victoria, British Columbia area. Sax memes were big in 2010/11, though we didn't call them that yet.

"Careless Whisper" was originally written by Wham! (George Michael and Andrew Ridgeley) and performed by George Michael/Wham!
"Run Away" instrumental solo (Epic Sax Guy) was originally performed by Sergey Stepanov and SunStroke Project
"I Am So Glad I'm Finally Returning Back Home" was written by Arkady Ostravsky and made famous by Eduard Khil, known to many as the "Trololo Song"

This playback demo was created using MuseScore 4 and the Muse Sounds and MS Basics libraries. Tracks were processed to repair artifacts in the Muse Sounds samples before final mixing and mastering.

Nightmare-fuel AI artwork courtesy of Leonardo.ai

Careless Memer

Bach's Praeludium and fugue arranged for string quartet.

Praeludium and fugue BWV 555

https://jskh1999.itch.io/survivalist-slime

Survivalist Slime

2 - Boss

0 - title

MuseScore 4 demo of a dance in A minor for string quartet.

Alpine Loop

Fanfare To John Williams' 90th  Birthday

An orchestral arrangement combining Hammer of Justice, Rude Buster and Vs. Susie (All originally by Toby Fox, in the game "Deltarune")

Deltarune Reimagined vol. 1

Hammer of Justice vs. Susie

Passionate composer for Wind ensemble & Orchestra

Looking for new original music? Reach out at adric.j.williams@gmail.com

Reach out! I don't bite!

Georges Gondard is a French composer born in Nice on December 15, 1966. His passion for music comes from his childhood, when he listened to the works of composers as Ligeti, Prokofiev, Grieg, Honegger, Debussy, Ravel, Mahler, Stravinsky. 
The discovery of the "Rite of Spring" when he was at secondary school, was a revelation for his musical sensitivity, confirmed by research of other influences such as those exerted in Hollywood by composers such as Jerry Goldsmith, Leonard Rosenman and John Williams. In 1990, he composed a variation on the score of the film " Accidental tourist" he gave to the composer John Williams, then conductor of the Boston Pops Orchestra. In 1992, he composed a piece for flute solo and another for horn solo. In 1994, after a meeting with the violonist Kyoko Takezawa, he dedicated to her "In Memoriam for Hiroshima, Nagasaki and Saipan". In 1999, he composes "Tryptich" after three works of Frida Kahlo then "Pluto, the kingdom of darkness" (2000) dedicated to Tomomi Nishimoto . He is often associated with various projects of composition for screen, in particular for directors such as Raphaël Zamochnikoff with "Family spirits" (2004), "The Never Ever Friend" (2006), and "The Time Vessel" (2008) or Jean-Pierre Lagarde, with "Venus and Jupiter" (2004), "Funest commercial" (2005), "Revenge" (2006) and "The Cupboard" (2009). He also composes the music of commercial for the book of Jean-Marie Cathala " Solo Vivir ". In 2008, he orchestrates a Japanese song made up by Yamada Kosaku, of which the first took place with Matsumoto with the philharmonic orchestra of Monte Carlo directed by Tomomi Nishimoto. "The Essay for string orchestra" rises from a suggestion made by Maestro Zofia Wislocka.
He have recently composed the scores from the short films "Ovnivores" and most recently "Evil Date".
He is currently working in a suite in four movement after his score from "Esprits de famille" that will be performed in Bruxelles on March 10th 2013.

Composing music on the side. MA in Music Composition student at Tufts University.

Toronto-based multi-instrumentalist, composer and music educator with diverse roots in classical, jazz and contemporary art music, as well as street performance and musical theatre. Frequently juggling a unique array of saxophones, bassoons, and clarinets (even cello) within a single performance, he has performed alongside ensembles from across southern British Columbia, including the Victoria Symphony, Theatre Under the Stars Vancouver, and as a founding member of the BT Williams Quartet. Whitehorne earned a Bachelor of Music from the University of Victoria in 2018 and currently pursues academic research into music, language, and the brain, as part of graduate studies in psychology. As a composer, his output includes works for solo musicians, chamber ensemble and larger forces. Whitehorne has often been heard in an eclectic mix of venues around Victoria, from the Royal Theatre to the Inner Harbour causeway, passionate about sharing fresh, engaging music with new audiences.

i am mirageofher, whose only personality is musescore 2.3.2 and whatever version the latest update of mscz4 is. 
this is where i put weird little songs on teh internet!!
enjoy yourn stay

New tracks tagged #MuseScore 4