Uboichi2

I better send in my Kefka piano arrangement before it has to stand in the shadow of this work! That's a compliment btw

It's quite difficult, having to play with your hands on top of each other at some parts and in general very nimble fingers are required. Overall I don't think it's as hard as it sounds, but still no piece of cake. Sheet music is currently in a nearly unreadable state, but if anyone is willing to take up this challenge let me know in a PM and I'll make it easier to read .

Lol, I don't have twitter, but I'll try the recruitment forum

Easier said than done . Finding someone who can and wants to play it is difficult in itself. Then there's something like having the equipment for it. I arranged this piece playing at the piano, so I know the difficulty level for it (and it's beyond my own ). Here's a new version btw, with a few added notes:

The source melody is already there at 0:48, but it's all garbled up and hardly recognizable and the opening is a big hint to Dancing Mad. I might make it more recognizable. Thanks for feedback!

Genre: Classical, piano solo After a long time of composing original music and making no remixes, I got back to work on the good stuff! The notes are finished, I will try to make it sound more human later. For now, let's hear what you think about it! Old version:

I actually had to laugh at this. If only I could grow a mustache. Maybe in a couple of years.

Actually, the piano cadenza has the least original motifs of the entire work. I just did weird stuff with it, like retrograding, changing rythms and combining different motifs into one.

This is actually pretty cool, but I can imagine the judges rejecting it just because of the piano samples. The rest of the samples seem below average, but passable. Just try to get pianosamples with clearer sound. iirc, some of the samples of http://hammersound.net/ are actually very decent. Or you could ask someone else to do the piano part .

I was wondering when someone would do a project on this tune ^^. And I really like how you worked the source. A bit like a union between Dragonforce and Dream Theatre .

Good news for all out there who were wishing for the sheet music: It's in progress right now and almost finished. You can expect it anytime soon .

I agree with tricklozen. An intro of almost 2 minutes is too long on a mix of 3:50.

Actually, I was mostly inspired by Les Oiseaux Exotiques. Especially the piano parts like here at 1:10. But I won't deny Turangalila might have influenced me as well subconsiencely. Or other works by Messiaen for that matter. I'm just a great fan of his works . And no, this wasn't done with Finale and only the percussion and piano are Garritan. As a 'sequencer' Finale just is too awful. Same goes for the Finale GPO set, I'm using the original . And I'm using Sonar as sequencer... I'm just not that good with sequencers. I prefer using real people . And also no, there's no score of this yet. Might come in the future if I ever can get people to actually play this for me live . And for most parts I don't agree on the flute part. It doesn't have a major role, it's just there for colouring effects. I already use the Celesta for playing high notes and I didn't want the flute to interfere with that too much . Though I do admit that the part at 3:22 might sound a lot better if the flute were an octave higher. I already submitted a slightly updated version from this one, but in case it won't be accepted, I'll consider changing it. Thanks .

Haha, I got bested by someone who knows more about it than I do. Kudos Gario! And I must admit that when it comes to instrument usage, that classical music is a lot more conservative than popular music. But nowadays it is popular music taking the baby steps. And I agree, this is far from experimental. Studying composition at the conservatory got me used to much more difficult music. My point here really is that it's very new for the majority of the OCR public. Afaik no one here has ever done something like this before and I'm just really curious to how it will be received if it does get accepted. On top of that I actually prefer writing/arranging like this over a more romantical approach. Most orchestral Remixes here start to bore me as everyone seems to be using the exact same structures for their arrangements. I guess I'm just hoping that I'll open up some people, if only a few, to kinds of music they've never listened to before. And who knows, maybe I'll inspire more people to try the same thing. As said before, I don't mind if the majority of the people here doesn't like it and immediately discards it. If there's only 1 or 2 guys out there who think like "hey, there's a whole new world out there!", Then I'll be happy. And it originally was inspired by Messiaen, but I kinda lost that while I was working on it. I should edit my first post really. But I probably won't . EDIT: Read your post again, and wanted to say that even though I would've loved to stray from that main theme more, I just didn't do it, because I was afraid of the judges saying it wasn't close enough to the original anymore. Taking babysteps here .

Well then, let me put it like this: It's not my intention to make something accessible, it's only my intention to make something good. When I listen to this kind of music by other composers, all I can hear is the beauty in the music, in how well it is written. But most people just can't listen to this kind of music and I can understand why. It took me a long time to learn to appreciate this kind of music as well. What I was trying to accomplish, was creating an arrangement with the complexity and sound of contemporary classical music. And inevitably that kind of music just sounds like a cacophony to most people. So when I say most people should feel like it's just a cacophony, I just mean to say that it's written in a style which just isn't listenable for most people. By no means I'm trying to say "It sounds like a cacophony, therefore it's great". More like the other way around. And like Schoenberg once said, the songs that can be written in C major are still limitless, but that doesn't mean that keeping on writing new stuff in C major makes you original. Sure, something new may sound new and original to most people, but the world of popular music develops at a way slower rate than the classical world. Popular music just takes very small steps at a time, only changing existing sounds by a small margin. Classical music however has the tendency to take giant leaps at a time. Most people simply can't appreciate that. Also, you state that my piece is like randomly smearing paint on a canvas. On the contrary, everything I did was very well thought out and not just randomly placed. I used dissonants and conflicting rythms knowingly. All the harmonies were intended like that. I don't use dissonants just because they're dissonant, I use them because they give a kind of feeling to the music you just can't achieve with more conventional harmonies. Same goes for the choice of atonality instead of tonality. This brings me to the point of the inverse relationship between enjoyability and originality. It's there. But I said on a short term. Great composers like Stravinsky and Schoenberg weren't very much appreciated in their own time, but especially Stravinsky is now considered the most influential composer of all time. So being really original may be rewarding in the long run, but on the short term it usually just isn't. Being original means breaking conventions, and there are always people who dislike that.

And that, sir, is exactly what most people should feel after listening this . The more original you become, the less people will appreciate your work on a short term

I think the original has a lot of melody to it tbh. Well, the gnomeragon02-zone version has a very strong melody played on the clarinet. It's just not your everyday classical/romantical idea of a melody people are so used to. More like a 20th century modern classical style melody, which is a bit hard to follow as it doesn't use conventional tonal scales. It's not that easy getting used to and it's not something that happens overnight, so I don't expect a lot of people to actually like this one

Now finished with cadenza!

Happy to see you followed my advice and submitted your song here =D Well, not sure if I was the only one giving you the advice and don't know who's advice you actually followed, but I sure am glad you posted it here. I've been a subscriber to Kate's video's for a while now on youtube. I suggest everyone else who likes takes a look at what she has to offer as well. =) http://www.youtube.com/user/katethegreat19

I too can second this. I have the book + the 6 CDs in posession. It has very clear examples of why composers chose certain instruments to play a melody. It also gives examples of how it would've sound if the composer would've chosen different instruments.

v1.0 =D

First update =)

It's supposed to sound messy =). Messiaen wrote his Les Oiseaux Exotiques (The exotic birds) with just the sounds of the jungle in mind. It isn't very clear music, cause all the birds sing a different song while ignoring all the songs sung by other species. While I don't use any type of birdsong like Messiaen did, I did use a couple of themes which are associated with gnomes in WoW, and tried to emulate that same thing: Everyone trying to play their song without paying attention to the songs of other players. If you want to hear what I mean, try listening here at 3:10.

Tried to make a concept of a heavily Messiaen-inspired rearrangement of the Gnomeregan and Tinker Town themes. Warning: Modern classical music ahead with no scales or modes you know, so you're probably not used to it. =P Now with Cadenza! OLDER VERSIONS: