When We Were Young (Adele) [Duet]

3 parts6 pages01:3620 days ago285 views
Oboe(2), Piano
Vocal duet with piano accompaniment of When We Were Young by Adele.

This vocal duet of Adele's popular song When We Were Young is a perfect addition to any talent show or open mic night. Put two of your most soulful, emotional singers to the task of singing this piece, and audience members will be blown away! Or just have some fun jamming out around the piano with this emotion-filled tune!

I arranged this for two of my fellow choir members towards the end senior year in high school, but they didn't end up actually using it, so it was just abandoned. I found it again while messing around one day and decided to edit it up and go ahead and publish it!

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Hello! The score that you see here is only a sample of the entire completed score, which has been published on another site. If you are interested in purchasing the sheet music, you will find it here: https://www.sheetmusicplus.com/title/21178288

DO NOT TAKE OR DISTRIBUTE THIS SHEET MUSIC ANYWHERE ELSE. (Not kidding. If you do there could be serious legal consequences.)

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I would love it if you and your group would like to perform my arrangement. If you would like to do so you may find the full score linked above. I would also love it if you could send me a video of the final performance.

Enjoy! :)

Public Release Date: 1 Mar 2019

Copyright (c) 2015 MELTED STONE PUBLISHING LTD. and TOBIAS JESSO, JR. All Rights for MELTED STONE PUBLISHING LTD. in the U.S. and Canada Administered by UNIVERSAL - SONGS OF POLYGRAM INTERNATIONAL, INC. All Rights for TOBIAS JESSO, JR. Administered by SONGS OF UNIVERSAL, INC.
All Rights Reserved Used by Permission Used by Permission of Hal Leonard Corporation

Scherzo Quartale

1 part7 pages04:3212 days ago64 views
Piano
I've been thinking of composing a scherzo that prominently uses quartal harmony for a while, but I only got enough ideas to write this a few days ago.

This time, I managed to compose this entire piece without consulting the piano at all. I'm now more confident about my ability to compose using quartal harmony.

The scherzo proper is in A major, though it definitely has A Mixolydian leanings and does go to distant keys. I tried to be influenced by more major-key works that use quartal harmony in this section, especially Sonny Chua's "Preludio (Fanfare)" from his Sonatina (a poorly notated score of this can be found in Musescore in https://musescore.com/chri55y/scores/3701986 , and yes, that's how I first found the piece), although I'm not certain whether I succeeded.

The trio is (at least ostensibly) in A minor. I drew upon several video game boss themes to create this. Several of them use quartal harmony in a tonal instead of chromatic framework (melody notes fit into a major or minor scale instead of purely the chromatic scale), so that's what I used. I derived my use of long quartal chords in the treble and a faster-moving ostinato in the bass from a combination of Meta Knight's theme and Alcahest's Big Boss 2 theme (note that Jun Ishikawa was involved in composing both of them and both themes resemble each other fairly strongly, IMO). The 16th-note quartal arpeggio use is from other boss themes (and even a racetrack theme), though. Bars 115-117 remind me strongly of the Nintendo Gamecube startup theme, and that one is unintentional, honest.

...Yeah, I should probably use repetitive ostinatos in my quartal harmony-using works less often. Note that both the scherzo proper and the trio are fond of ostinatos, with the trio's ostinato being more boring, IMO.

While the scherzo proper is freer in form (it does use one of its motives quite a lot, though), the trio is in a more disciplined ternary form with repeats (and, OK, an interlude after that). The trio is also quieter overall--I tried to make the scherzo proper and the trio contrast each other in a variety of ways.

Yes, Bars 102-114 get more and more syncopated and disorderly. That's the point.

Yeah, I'm annoyed that the tied grace notes don't let the notes they're tied to play back and don't let those tied-to notes appear on the website piano roll/tutorial. They could easily be inverted mordents with naturals on the bottom, but I'm still not confident in my ability to put that on the score and edit the piano roll accordingly.

I know I've got some pretty shifty enharmonic spellings in this piece--are some of them too shifty for you?

(Structure: A-Interlude-B1-B1-B2-B1-B2-B1-Interlude-A-Coda)

Circus Screamer

1 part2 pages01:3914 days ago66 views
Piano
This march resembles John Philip Sousa's marches. Just like some of Sousa's marches, this is in regimental march form, which has a binary-form trio instead of involving a breakstrain.

...OK, this is significantly faster than most of Sousa's marches. In fact, this is so fast that it's a screamer: a rapid march often used in circus acts.

As seen in the subtitle, I do want to make a concert band arrangement of this someday...but if you can arrange it for concert band, I'd love to hear your arrangement!

I composed the entire melody of this march years ago--in fact, I actually composed it at around the same time as the melody of my "Out of Strife (Comes Hope)" (https://musescore.com/user/9996931/scores/2306021 ). ...Yeah, I looked up Sousa's solo piano scores of his own marches to figure out the accompaniment of this piece and help assign the dynamics this year.

The Middle C's in Bars 17 and 19 were originally half notes tied to other notes, but then I figured nobody has hands that wide.

Oddly, unlike Sousa's marches, this march's strains just keep getting longer and longer. I guess I wasn't as disciplined structure-wise back then, was I?

(Structure: Intro-A-A-B-B-C-C-D-D)

Mazurka in C minor (original)

1 part6 pages03:2214 days ago148 views
Piano
A mazurka by me, that completes my Op.3 set. Didn't really try anything very new with this piece harmony wise, though I did try and play around with giving the melody to the left hand in the cantabile section. Besides that, it's quite a conservative work by my standards. Anyway, hope you enjoy!

Scriabin, Mazurka in E minor Op.25 No.3 (original orchestration)

11 parts8 pages01:5715 days ago48 views
Flute, Oboe, Clarinet(2), Bassoon, French Horn(2), Strings(4)
Another Scriabin mazurka orchestrated by me. This one is a bit of an experiment with minimal orchestral size, I tried my hand at chamber orchestra writing and with textures for an ensemble of this size. But this particular score is a labor of love more than any piece I've done before, because I nearly lost the entire thing by mistake. So because I'm currently working on a publishing project with my school to get my work published, I'm editing all of my current pieces, so I have two files for every piece I've written. So, because I also have some scores that are not finished, once I finish them, I'll replace the older ones with the new version and start editing. So when I finished this piece earlier today, I forgot in which folder the new file was, so by mistake I copied over the older file and replaced the new one. So I lost with a click of the mouse about 5h worth of work. Fortunately, I have a pretty good memory, so I re-completed it, and this is it :D Hope ya'll enjoy this score (that I now kinda despise)! :D

Finish This Score...Finished! (Quaver Crafter Completion)

1 part8 pages05:1818 days ago64 views
Piano
This is a completion of a Quaver Crafter piece starter that I arranged for his/her Win a Free orchestration contest (https://musescore.com/groups/musescore-composers/discuss/5032001 ). Sadly, the original starter score is currently unavailable, but that doesn't prevent you from enjoying this!

Bars 1-29 are what Quaver Crafter originally put down. The only things I did to them are add slurs, make all barlines visible, add pedal to Bars 28-29, and adjust the positions of markings. I did have to make the audio of the entire piece work, though--I think I had to mess with the mixer in order to achieve this.

I had to make my initial melody of the B section (starting at Bar 30) mesh with the overall accompaniment structure Quaver Crafter provided. I later figured that this piece would be in arch form, complete with a coda-like A' section involving Quaver Crafter's initial material at the same tempo as the start of the piece. I actually ended up incorporating more of the original material than I initially anticipated--I wasn't originally thinking of reusing the left hand of Bars 15-26 quite as strongly, but it all worked out!

I don't believe Quaver Crafter ever put anything on his/her starter other than "All Rights Reserved", so that's what I'm putting on this, too.

(Structure: A-B-C-B-A')

Portrait in D minor "The Bard" (original)

1 part2 pages01:0618 days ago148 views
Piano
A little piece from a series I call 'musical portraits', I haven't had the time to really work on the other pieces in this set, but I finished this today, so I had to share it.
It depicts a medieval bard wandering the country, singing tales and playing on the lute. I tried to imitate a texture that would be similar to a lute with lots of sus chords that imitate misfreted chords and harmonies with 'open strings' in them. And the melody is quite sing songy as well, So I hope you enjoy!

Mazurka in E-flat major (original)

1 part4 pages02:176 months ago460 views
Piano
Another little mazurka I wrote the other day. For this one I tried to focus much more on the rhythmical side of the music, to give it a sort of folksy feeling. I also tried to follow a more dance piece structure, used in waltz' and some of Chopin's mazurkas. Having written this in about 3 hours, I'm not really sure how it turned out, but I hope you enjoy! :)

It's Okay (Fia Goudes) [Tidbits]

4 parts2 pages00:452 months ago176 views
Piano(4)
A cappella original tidbit titled It's Okay.

I decided that I liked what I did with "They Say" (if you haven't heard that yet, check it out! it's linked in the same sets as this one), so I decided to do another!

This short is based off of a little mantra I came up with a while back. It was something I intended to use as a way to try and stay upbeat even during darker times, but it never stuck. I came across a little doodle I made of it over the holidays while looking through old papers, and I decided to try once more to get it stick. This time, I figured that maybe music would help it stick in my head more easily! And thus, this happened. :)

It's a fairly simplistic tune and arrangement, since the melody is supposed to be easily remembered and sung for pretty much anyone. Vocals are a little shaky, but they're pretty okay for now haha xD

[Note: Can we just have a moment of appreciation for my mezzo-soprano vocal chords for being able to hum that high F? Lord only knows how that even managed to happen xD]

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From "Tidbits," the album that just might be. Please do not perform this song. Do not take, share, or post this audio or sheet music anywhere else.

Enjoy! :)

Public Release Date: 17 January 2019

© Sophia Goudes 2019

Prelude in F minor (original)

1 part2 pages01:067 months ago224 views
Piano
My absolute shortest piece that I've so far written, and also probably the most angry :D The tempo marking (but can you even call it that, mood marking?) says pretty much everything you need to know about it and how to play it from the get go. Don't have much more to say, it's just a really angry piece :D Hope you enjoy! :)
Update: taking advise from a few users I extended this score a bit to give it more substance, hope it's better :)

The Smile of a Child (Criminal Minds) [Solo Piano]

1 part4 pages02:162 months ago260 views
Piano
Piano arrangement of The Smile of a Child by Paul Reeves, well-known for appearing in Coda, episode sixteen of season six of Criminal Minds.

I've been dead for a while on here, and I apologize for that! I've been distracted by a lot of things, and I haven't been able to connect my laptop to wifi for days, since I don't have wifi at my house, so I've physically had no way to post anything on MS until today. :\

This piece is transcribed as exactly as possible from the Criminal Minds adaptation of it (plus a bit of an ad-libbed ending, since in the episode there was never any clear end). I was watching a marathon of the show, and saw this episode, heard this song, and fell in love with it. Even though it's so simplistic, I wanted to share it with you guys!

Note: The default audio is a version I made plus some of the other instruments and sound affects I heard in the Criminal Minds adaptation. I was messing around with soundfonts and wanted to give it a try. Plus, I may record myself playing this and make that audio source available here as well. :)

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NO MONEY IS BEING MADE OFF OF THIS. I DO NOT OWN BROTHERS AND HAVE NO AFFILIATION WITH ROAD HAWGS OR CRIMINAL MINDS.

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I would love it if you would like to perform my arrangement. Please contact me first, though! You can contact me through MuseScore, email, Facebook, YouTube, or SoundCloud. I would also love it if you could send me a video of the final performance.

Enjoy! :)

Public Release Date: 10 January 2019

© Sophia Goudes 2019

Sonata-Allegro in G Minor ("Introduction and Frenzy")

1 part17 pages05:51a month ago163 views
Piano
I somehow got the idea last Sunday to compose a sonata-allegro in the style of the 1st movement of Beethoven's Pathetique Sonata. I'm lucky this turned out.

I think I was partially inspired to do so by the 1st movement of MWong119's Sonata in F Minor, Op. 3, No. 2 (which you can listen to in https://musescore.com/user/11705726/scores/3185701 )--I was always struck by its structural and size resemblance to the 1st movement of the Pathetique Sonata. Since he went with F minor, though, I swung the opposite way and went with G minor.

This rips a lot of its features from the Pathetique Sonata's 1st movement: it also has a Grave introduction that ends with a flurry of fast notes, it rips some of its accompaniment figures (e.g. the left hand of Bars 5-8) from the 1st movement's introduction, and it also uses introduction material in its development and coda. (I just prefer fast music, so I use only fast, modified versions of the introduction's motives.) It uses the same meter and a similar breakneck tempo for the sonata-allegro proper, it also repeats the exposition but not the development or recapitulation, and its exposition also goes to the relative major, while its recapitulation remains in the home key. It also uses similar accompaniment textures for all of its exposition's (and recapitulation's) themes, in order. (For example, this means that both pieces' first themes of their 2nd Theme Groups have similar accompaniment textures.) It also uses sharply ascending figures with crescendos in the melody of its 1st Theme and long melody notes in the second theme of its 2nd Theme Group. Even its transition has a similar texture (and I purposefully had to go for perfect fourths instead of minor seconds like Beethoven did). I tried to go for a drawn-out dominant preparation like the Beethoven work, but I'm not 100% sure I succeeded.

I kinda ripped the recurring motif of the 1st Theme from the first 3 bars of the F minor scherzo of Schumann's Piano Sonata No. 3 in F Minor, Op. 14 (the scherzo movement that was dropped from his revised version), though.

You may reassign notes between hands if you want (passages like the second set of eighth notes in Bar 31 may only be playable with both eighth notes in the left hand).

I'm completely fine if you play the arpeggios in the introduction before the beat.

I'm annoyed that the after-beat grace notes that end the trills in the introduction don't play back, though.

Maybe this score could use a few more slurs in places?

(Structure:
Introduction: Bars 1-26
Exposition 1st Theme: Bars 27-50
E. Transition: Bars 51-58
E. 2nd Theme Group 1st Theme: Bars 59-86
E. 2nd Theme Group 2nd Theme: Bars 87-102
E. Codetta: Bars 103-119
Development: Bars 120-212
D. Dominant Prep: Bars 197-212
Recapitulation 1st Theme: Bars 213-236
R. Transition: Bars 237-244
R. 2nd Theme Group 1st Theme: Bars 245-272
R. 2nd Theme Group 2nd Theme: Bars 273-288
R. Codetta: Bars 289-303
R. Coda: Bars 304-328)

Scherzo Agitato

1 part4 pages03:03a month ago80 views
Piano
I'm surprised how quickly I finished this scherzo. I came up with the first 8 bars in the bathroom yesterday, and I had most of it worked out by the time I came home from work. I spent some of today revising it, and here it is!

So yeah, this is a nervous little thing. This scherzo and trio is named after part of its tempo marking: agitato. It starts off with a staccato repeated-note run, which adds to the agitation. The octave runs in Bars 37-57 can get pretty difficult. The section before the repeat sounds like the beginning of a contrapuntal piece, except this isn't.

The trio sounds fairly pastoral, but I sneak in the DSCH motif in Bars 66-68 and the BACH motif in Bars 87-90. As both of these motives are quite chromatic, maybe the trio sounds more sarcastic than you might initially think?

(Structure: A1-A2-A1'-A2-A1'-B1-B1-B2-B2-A1-A2-A1')

Prelude in C major (200 follower special!!)

1 part3 pages01:032 months ago291 views
Piano
A pretty weird thing to see, but I have 200 followers on here, somehow :D So, I just want to say a big thank you to all of the people that have followed me and thought it's worthwhile to hear more. So thank you!! :D And here's a little piece for the occasion.
So this prelude I wrote quite a while back, something like 4 months ago. It's quite conservative harmonically, and very conservative compared to the prelude I uploaded a while ago, but I tried new things, like more complex figurations in the right hand and having the melody in the left hand. So I hope you enjoy! :)
PS. Apologies for being quite inactive over the past few months, the workload of school work has been quite tough and it's been difficult to find time to write music and be creative like I was during the summer. So apologies again, hope ya'll understand.