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Thanks for tips! I’m fairly new to this

Here is a plausible cadenza based on this

This is a rock piece for many instruments. This is my original style and there isnt much inspiration from anything. It is structured kind of like a rhapsody. I'm 17 and still somewhat new to rock composition. I apologize for the bad sound quality this is just a draft and the final product will go through Ableton and onto an album.

Hey Luis! The low register of the tremolos are probably inspired by @Thatguy v2.0 Vince! It is quite dark as to create a contrast with the bright ending of the 1st movement! For me I always want to ensure all transitions are smooth and I think it works here!The b.153 harmony is when I want to have the opening melody of the 1st movement crushed by dissonant harmony beside it. I love the climax to b.197 too! Yeah the fugue is hard to make but definitely worths it. Thx to your introducing the Metamorphosen to me, it becomes one of my favourite piece now! For b.754, I never think of organ but I think that’s a great comparison! Thank you! Also, thank you for mentioning tritone substitution in one topic here. That becomes my inspiration to solve one of the riddle in the passages when I need to use both tritones and modulate quickly! Henry

Hi Henry, thanks for listening. They asked for 90 seconds: so I've given them an extra 20 seconds as a bonus! Hopefully they won't be too strict about it.

Hello @Alt, By looking into the score, remember to add details in it! Slurs, dynamic markings and expressions would add much more flavour to the music! Tempo marking at the beginning is mandatory too! Henry

Hi @Alex Weidmann, For me it sounds fitted to a space related podcast! Will the podcast take the first few seconds pr the whole duration of the track? Two minutes seem too long for the theme I guess? Thx for sharing! Henry

So well fitted to the film Castle in the Sky, tho a bit too sweet to take it outside the film, just like the Rite without the Nijinsky ballet dance sounds weird to me.

Hi @benyamind, That’s interesting, the microtone does create some special effect. @PeterthePapercomPoser must be interested to find this as well haha. Henry

Hi, The following is a microtonal composition I'd like to share with you. It's made in 31 equal divisions of the octave, a system that has access to lots of harmonics and allows for interesting harmony. It's a system I've been working with over the years and I often go for spectral soundscapes, like this one. If you have any questions, do ask. I hope you enjoy the sound.

luderart, well done. Good, memorable melody lines and overall sound. I like the double stops near the end. I would have liked it to go on a bit longer. Maybe a second theme added and the two combined later on? I wonder if a few more bow markings are needed in the score to help the viola, or if you mean for there to be this few? I also wonder if you want to add a few dynamic markings? Should the piece start forte or piano? The last measure to me sounded a bit too playful for the tone of the rest of the piece. I'm not sure why yet or what I would like to hear instead. And I like the pizzicato. It may because it sounds so final? Maybe not octave G's but a Bb and G instead? Or maybe not even a Gm harmony but G and Eb or something that doesn't give the listener such repose and finality. Again, well done!

Hi, Im looking for 70's greatest compositions Any suggestions ?

Db.pdf Here is the score if anyone’s interested

Hi to all! I've recently been asked to write a theme for an unofficial Star Trek podcast. Obviously I'm not allowed to quote any of the original themes, but the brief was: James Horner! Its supposed to evoke "Star Trek", without actually quoting any copyright material. So this is what I came up with. Think my percussion needs a bit of finessing (especially at the end), and I still have some work to do on the balance of the mix, and the mastering. (Sorry about the score: it's designed for midi rendition only, as I don't expect this will ever be played by real life musicians!)

@Henry Ng Tsz Kiu Thank you very much man, I haven't gotten such compliments in a long time wow. 😮 I agree, the tritone leap at the local climax from the start sounds like it comes from a Mahler piece, it has the same type of expressive nature (this choice was intentional). The harmonic exploration I did at the start is something I want to study in detail for future compositions, it feels atonal but grounded in tonal harmonic structures. Thank you! For me the central climax feels like watching a movie scene where a man has lost everything in war, or something similar. The Christ comparison is too much in my opinion haha, but I do try to transform my personal suffering into something people can enjoy. 🙂 @Luis Hernández Thank you! Yes, I used a similar idea, this is achieved by delaying the C# minor resolution for the very last chord of the composition. All the time I avoid a pure C# minor chord like in measures 2, 13 and 20. @Thatguy v2.0 Thank you! I wasn't expecting to express so much in less than two minutes, I guess my body was craving expressing itself after months of creative silence. @PeterthePapercomPoser Thanks. 🙂 Yes, I made some little experiments in this piece and the results seem interesting. I do hope this helps me get the courage to compose a small symphonic poem in the near future.

Thanks 😁

Dang how did I miss this one I know every midi rendition of a piano piece could be enhanced with a live performance, but this especially could. I found myself wanting to hear so much rubato, it would definitely give this piece added life. I forget, do you play? I hear a lot of pain and despair in this, broken up by little rays of sun here and there. I think when you have writer's block, something improvisational is a good move to get out of it, where you kind of forego form and just write. I like the story-arch of this, because it was hard to "expect" anything, and I was just forced to listen. Bar 72 was probably my favorite moment, the high register was a lovely touch in color to your theme. Reminded me of some of Liszt's stuff. 106-108 was really cool too. But I think my favorite thing overall was the fact that nothing really felt forced. If you wanted to be simple, you were. If you wanted to added dynamic depth, you did. Nothing felt like you were trying to break boundaries, you just wrote good music. I took a lesson from a jazz piano player one time, and he asked me how I play my C chord. Not how to play C, but how to play MY C chord. Did I like to add a 6th, or omit the 5th, or whatever. I didn't care for that, because sometimes a plain old C chord is just fine as it is, it just depends on what you're going for. The language in your music is simple yet elegant, and it sounds like you're a wise and mature composer from it. I like Henry's suggestion of small pieces, they are helpful when in a rut. The act of starting something but COMPLETING it too can't be understated for your compositional well-being, and might be an avenue worth pursuing in the future when stuck in your musical ways. Great music as always, it's good to hear something from you again. Excited for more!

@Luis Hernández thank you for your thoughts! I actually thought it was going to be a nocturne at first, but it ended up going a different direction. @Henry Ng Tsz Kiu I agree, I love and appreciate short and sweet. Maybe one if these days, I’ll try my hand at writing a series if preludes, too 🤷🏻‍♂️ but no promises, LOL

Hi @Gwendolyn Przyjazna! I love the modal colors of this piece! I would have made a few different harmonic choices myself though. My ear just yearns for a C# major chord instead of the C# minor you have in measure 5 but I don't know how well it would loop back around if you made that change. But if it doesn't loop well with the major chord in bar 5 you could just write out the second repeat of the material with the minor version and there'd be some unexpected variety. I also really like the mood of the piece - it's melancholic and hopeful at the same time, perhaps contemplative of both good and bad memories. I think the rhythms of the right hand in measure 13 - 15 are as clear as they should be. Since you're using a variety of different durations for the 2nd voice of the right hand it makes sense that you'd display the half note in bar 13 as such since you use a quadruplet dotted quarter note in measure 14 followed by a quadruplet 8th note. And a regular quarter in bar 15. Thanks for sharing this reflective piece! It really is a shame you don't post more often but I remember that when I was in school I didn't compose very much either unless it was for an assignment because I just didn't have the time or mental/emotional resources for creative pursuits.

@PeterthePapercomPoser help me with that!! 🥶 You know how bad my notation was and is right!

Thank you so much, Henry! 🙂 I trust your judgement on the notation. I will be making my final draft in a week and will post it here.

Thank you for this feedback, it gives me a to-do list basically, which will really come in handy, so thank you. I appreciate it very much.

Thanks! I am working on a score at the moment

Hello @Josephine_Maccrimmon, Welcome to our forum! I am not expert myself but lemme give you some feedback. I think the opening flute melody enters in the wrong key as the music is in G major but you have the flute enters in supertonic A minor but have a tonic G major harmony! The piano accompaniment and harmonic pattern can be more varied, as I find out that the piano accompaniment repeats in a ground bass fashion! Also, the texture and accompaniment pattern of the piano can definitey be more varied like using simple patterns like alberti bass or broken chords. Have some melodies for the piano as well! Details would be very important as well. There isn't any dynmaic markings in the score, and no slurs! Slurs are pivotal for fluatist since they indicate their tonguing and how to play their notes! I suggest you viewing our fellow members' work and look for their scoring and details! Thx for joining! Henry