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  2. Upload Your Compositions for Analysis or Feedback

    1. Orchestral and Large Ensemble

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    8. Incomplete Works; Writer's Block and Suggestions

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  3. Competitions and Collaboration

    1. Competitions and Challenges

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  4. Technological

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    2. Software and Hardware

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  • Works With Few Reviews

  • Posts

    • Air for Soprano & Piano - Sleep, my child
      Hi First of all: I like it a lot. It's written in a  genuine baroque style. The introduction is perfect. The melody, too, with its ornaments, as in this type of bel canto. What I don't undertand is why you use strings if it is written for piano? I think it would sound good with a harpischord sound, although it is in an absolute vertical pattern. With a keyboard I don't know if it would be "heavy". In this style of composition, the harpsichord can be played this way but because there are some instruments in background. And some suggestions regarding the flut (voice): 1. The climax (highest note) appears twice, in bar 25 an bar 62. This climax is usually sung in the reexposition (da capo), not before. Or in the very last note of the piece. 2. In bar 62, I think is hard to attack such a high note without preparation. That is to say: suddenly.    
    • Air for Soprano & Piano - Sleep, my child
      Here is another air for soprano and piano. Once again, the soprano voice is played by a flute (as both the range of the actual midi soprano has a more limited range and it sounds worse.) I also have the piano played by strings, as I think it sounds better. Let me know what you think!
    • Passepied for Solo Violin
      Generally really enjoyable piece and seems to be idiomatic for the violin as well! 

      However, if you want to take something else from Bach to keep interest during a solo piece for a violin (writing for solo instruments in a manner as to keep the listeners attention isn't easy), then consider not being only in a single key all the time. Bach constantly uses chromatic motion, secondary dominants and modulations to dominant, usually. Sometimes other keys, such as sub-dominant before the end. This allows for more emotional content as well. Constantly piling on the tensions and releases in this constant rhythmically similar motion that is the Bach hallmark. Since you have a similar idea in having similar rhythmic motion most of the time (especially in the first movement) this seems lacking. As it stands sometimes there is diatonic, tonal motion that doesn't seem to have a clear direction. 
    • Passepied for Solo Violin
      Thank you for the feedback Ken.  A passepied was a French dance used in a lot of baroque suites. It's usually a light dance in a quick 3/8 time. It has been used a few times by more recent composers (Debussy, Stravinsky, Satie) in suites of music.  I wanted to use a baroque dance as the basis for this piece because I had been studying the Bach partitas. I just arbitrarily chose a passepied. 
    • Passepied for Solo Violin
      Just what is a Passepied? Satie wrote one but it sounds very different than this, which is pretty and sounds Irish or Appalachian to my ears. It would be nice to hear a real fiddle play this, but using my imagination I got where you were going. Ending on the Dominant was clever and somehow satisfying.
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