Morning, Afternoon & Evening (Tone Poem)

Congrats for your first upload.

It would be far easier to give an in-depth review of your work if you posted a score along with the audio file (as the audio alone is seldom good enough to do justice to a work). At first glance, however, I should point out that the sections don't seem to flow smoothly one into another, but rather come out suddenly with a new, unexpected idea. This is not bad in itself, as long as you can achieve some sense of unity on the piece as a whole.

Also it seems to me you're very fond of using brass in unison and strings in tremolo, esp. at the high register. I'm missing a bit the lower instruments, especially in the strings section - but again, this could be a flaw in the rendering (or even in my own sound system).

Thanks for sharing - I hope you can provide a score.

Congrats for your first upload.It would be far easier to give an in-depth review of your work if you posted a score along with the audio file (as the audio alone is seldom good enough to do justice to a work). At first glance, however, I should point out that the sections don't seem to flow smoothly one into another, but rather come out suddenly with a new, unexpected idea. This is not bad in itself, as long as you can achieve some sense of unity on the piece as a whole.Also it seems to me you're very fond of using brass in unison and strings in tremolo, esp. at the high register. I'm missing a bit the lower instruments, especially in the strings section - but again, this could be a flaw in the rendering (or even in my own sound system).Thanks for sharing - I hope you can provide a score.

Thank you in advance for your review. So, i compose with Sibelius 7 and for the audio i use Garritan Personal Orchestra, there isn't nothing of wrong in the rendering. In fact you've right, i love string tremolo in high register, brass unisono, however i've wrote some lines for cellos and basses, but they not emerge and this is my mistake. I not found an idea for use it in the entire piece to be honestly.
About the flowing of the sections yeah you've right, simply i must improve :-). Calculates the fact i learn myself harmony, orchestration, counterpoint because i still not study it at conservatory.
About the score i'll upload it when i'll finish the piece, yet i must finish it.

Yes, we can do it better with the score...

but I liked it, just some strange flute and what I guess are muted horns...

Form is good 0:00-3:15 then a bit confusing 3:15 - 9:15, not sure what happened there, then everything makes more sense again, but it was like a new beginning but it came down again to end...

Yes, we can do it better with the score... but I liked it, just some strange flute and what I guess are muted horns... Form is good 0:00-3:15 then a bit confusing 3:15 - 9:15, not sure what happened there, then everything makes more sense again, but it was like a new beginning but it came down again to end...

I used muted trumpet. Thanks for your comment :-)
Tomorrow i'll upload the score :-).

Well ... you're certainly ambitious, to use such a large ensemble, and make it such a long piece (over 10 minutes long). And this piece does have its nice moments -- I like some of your unusual forms of development, for instance.

But your inexperience really shows a lot in your harmonic choices -- they either stay so tightly in key that it really constricts any sense of texture or color (all of pages 5 and 6, for instance -- in an Adagio, especially, it's a shame that there's just not much going on harmonically), or it bursts out in a rather random-sounding scale full of accidentals (the Allegro toward the end). I'd really rather have the latter than the first, though, and I'm glad there was at least something different brought to the table after so much "sameness". I really think that harmony is your biggest pitfall, and I encourage you to tackle this as hard as you can.

I think the best way to do this, is to go as simple as you possibly can. Maybe start with a very small ensemble, or even a solo instrument with both bass and treble, like a piano. Using very precise "notes", see which progressions have strength, as opposed to which ones sound uninspired. Then you can build on what you've learned into progressively bigger ensembles.

I encourage you to stave off your ambitiousness for later -- once you've become more familiar with harmony, in particular, I think then, your efforts may pay off more.

Thank you for sharing -- this was a decent thing to listen to

Well ... you're certainly ambitious, to use such a large ensemble, and make it such a long piece (over 10 minutes long). And this piece does have its nice moments -- I like some of your unusual forms of development, for instance.But your inexperience really shows a lot in your harmonic choices -- they either stay so tightly in key that it really constricts any sense of texture or color (all of pages 5 and 6, for instance -- in an Adagio, especially, it's a shame that there's just not much going on harmonically), or it bursts out in a rather random-sounding scale full of accidentals (the Allegro toward the end). I'd really rather have the latter than the first, though, and I'm glad there was at least something different brought to the table after so much "sameness". I really think that harmony is your biggest pitfall, and I encourage you to tackle this as hard as you can.I think the best way to do this, is to go as simple as you possibly can. Maybe start with a very small ensemble, or even a solo instrument with both bass and treble, like a piano. Using very precise "notes", see which progressions have strength, as opposed to which ones sound uninspired. Then you can build on what you've learned into progressively bigger ensembles.I encourage you to stave off your ambitiousness for later -- once you've become more familiar with harmony, in particular, I think then, your efforts may pay off more.Thank you for sharing -- this was a decent thing to listen to

Thank you so much for your comment!.
Yeah, as i said above in another comment i still not study harmony at conservatory, but i'd beginning now with some text. Which text do you recommend to me?

What text would I recommend? Since I too have not studied harmony in an actual textbook, I think the best text, is simply listening and following along to the score of orchestrators you admire. (In my case, pianists.) After seeing what some of these individuals have done to achieve music you enjoy, you can add that to your own unique perspective on music, so you can come up with original things.

Textbooks are nice, but I've found there's no replacement for experience.

In short, keep going! I think you will do well

What text would I recommend? Since I too have not studied harmony in an actual textbook, I think the best text, is simply listening and following along to the score of orchestrators you admire. (In my case, pianists.) After seeing what some of these individuals have done to achieve music you enjoy, you can add that to your own unique perspective on music, so you can come up with original things.Textbooks are nice, but I've found there's no replacement for experience.In short, keep going! I think you will do well

Ok, i too think same way :-) I keep up the work! :-).