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Here my minuet i would like for feedback Minuet in C.mp3 Minuet in C.pdf

Thank you for your comment and your suggestion. I'm glad you enjoyed the piece! I suppose it's meant to be a slightly different take on sadness than usual: a contrast between the simple melancholy resignation of the clarinet and the agitation of the piano. I hope that comes across a bit nonetheless... Thanks again for taking the time to listen. Best wishes

Hi Luis, Thank you very much for your words, I'm so glad you enjoyed the piece. I know what you mean about how it doesn't quite go in the direction suggested by the opening bars. It is a bit of an odd feeling, I agree, which sometimes I get and at others I don't so much, but I haven't yet quite managed to work out how it comes about. But the way the piano works towards these moments of agitation is central to the theme. About the clarinet, it sounds like a bass clarinet to me, with its somewhat hollow woody timbre, even on the high notes, which conveys a specific kind of sadness in contrast to the often agitated piano. But then again I was not there when it was recorded, so I can't be entirely sure... Thanks again for your comments. Best wishes

Part III. I liked the opening, with the strings creating an almost ‘cosmic’ atmosphere (as in Lohengrin). The first exposition with vocals/text left me wanting a bit more, as the strings play a very passive accompanying role, with nothing more than long notes. But I noticed that in the recapitulation they take on a much more active role, so the contrast works well. Overall, I like the way you give the instruments such a prominent role, even though it’s a composition with text and vocals.

I love this so much! The way the melody develops, starting from the chords to then the satisfying dunnn-dunnnnnnn (G flat to F flat) THEN WHEN IT OPENS UP (liek around the exact halfway point) it just sparks everything that I think of when I think "Jupiter's Moons" (especially that Stenophone paired with the twinkling) and THEN to close it with chords and that satisfying melody is just so poetic and perfect. I have to ask, do you know of the song "Space Song" by Beach House? It's really popular online, did you take inspiration from that song? It sounds even more within the aesthetic than Space Song did (if you ask me.) How long did this take to make (the composition itself, not the editing process) Consider me wowed, Forty6

Thank you for offering, For melody, I like the satisfying resolution on ending with the root note for the clarinet, (I know this wasn't the feedback you asked for, but) When I listen to the song, I don't initially think that the song would be considered sad, I more felt like it was intriguing and somehwat bouncy, if you wanted to make it sound a bit sadder, I feel liek you could make the piano softer and have a bit more reverb (just in general less sharp) and a slightly lower bpm maybe? I do like the song a lot, though, it's always so nice hearing live instruments (atleast I think it was live) like how you played the clarinet yourself, and I liked the switch ups of instruments like with the other piano coming in later to change around the atmosphere, great job! Awesome sauce, Forty6

I forgot to mention this album: Outlaw Star OST (my favorite anime) My favorite tracks are: FLIGHT POWER GENTLE SUZUKA GRAND EXPECTATION DAY BREAK

Thank you for the positive feedback :) I’m very glad you liked the suite. The ensemble could indeed have been larger; at the very least, a string orchestra could have been used. But I deliberately chose a quartet because I wanted a chamber feel. I perceive this work as very intimate. Besides, it’s much easier to find five performers (a vocalist plus a string quartet) than a whole orchestra :) I hope the remaining movements won’t disappoint you :)

Hello! Thank you so much for such a detailed review and for your positive feedback. As for whether the music comes across as something of its own or as an adaptation of the music of our world, perhaps I didn’t phrase my idea very well in the opening post. I actually wanted the music to resemble the music we know. By “its own” I meant not something invented, but something heard since childhood and well settled in memory. I wanted it to feel familiar, but not to be merely what one’s memory supplies. The novel itself, which this piece was written to illustrate, is a fantasy work set in a world strongly resembling Europe before and during the First World War. Naturally, there are references to the Russian Empire as well. For example, the author even added poems that directly recreate the style of the so-called Silver Age of Russian poetry. And I wanted to do the same thing in the music. However, I’m only describing my intention :) It’s by no means certain that I succeeded. A composer often can’t tell the difference between what he planned to create and what he actually ended up with :) Special thanks for the praise of the orchestration :) It’s very pleasant to hear. Thank you :)

hello, I’ll be saying a lot about your piece because I’m really enjoy it, and I listened to the entirety of it i’ll probably deep dive on this one because I found a lot of orchestration things that are interesting which I do wanna point out, but let’s talk about the general effect idea Ideas of general effect: as an audience member and also as a person looking at the score, I enjoyed this stylistic idea, listening to it blindly without program notes. This definitely does scream Russian. but after that, I could definitely hear the Jewish/Romanian inflections. I definitely enjoy a fun fast paced folk dance. The harmony was definitely colorful. I must say in the orchestration was interesting as well. Also, there was a great touch with tempo changes as well. You decided to go the abrupt option which makes sense where they seamlessly don’t change rather than a seamless change. Maybe you could’ve experiment with more gradual tempo changes but it’s more of a stylistic choice if you leave them out, which I definitely respect that. Tambourine would go so hard with this. I compose my pieces with a ton of percussion so you could add more percussion if you want, but I get if some composers don’t like doing so. with the general idea with the effect of the sounding its own thing is the effect on that fails as it sounds way too familiar and it feels more of an adaptation on existing earth culture rather than a culture elsewhere. about orchestration I will look at the score, but here is some first impressions I love that thing that you did with the clarinets in thirds that was really creative and it was a quick change of character, which I definitely appreciated. And you definitely passed the idea around as well. I have some questions as well while else re-listening to it, this is more of a stylistic approach on your behalf, but I would definitely add trombone in with that first brass entrance if we’re adding tuba, but then your argument could possibly be that the tuba provides the base and is not as harsh as trombone’s, with page 4, when the melody is passed to the Lows the patterns I would usually see is woodwinds doubling with each other with the additional add-on with strings. The first time with strings you add low brass rather than low Reeds what I was thinking by intuition Page 9 features Viola and clarinets a nice velvety, warm pairing. with page 10 features the thing I was talking about with the clarinet in thirds. A trumpet feature follows after that I would say it’s unusual for a folk color, but it serves well as a pallet cleanser Page 14 contains a call and response sort of idea with the brass note that bass doubles tuba; in the concert band setting this is a strong orchestration technique, given reinforcement in a orchestra given that there’s more string basses the strength and reinforcement is more effective later on the idea was given to the entire orchestra, allowing more color and blending you should be awarded amazing orchestration on this Anyways, this was very fun to look at, and this was full of amazing orchestration

Nice to meet you! First, I want to say this melody you made is familiar, catchy, memorable, and I think it's nice. Playing the main melody on bass or guitar might be nice. I like it. Anyway, it doesn't matter, just my impression when I listened to this. Ok - about mixing. I think you're doing well using panning and making all instruments clearly recognizable. I always have my attitude to respect what you want to express even if the mixing sounds unusual. For example, if the bass note was so strongly panned or much stronger than other instruments, if you have some purpose it would be part of creativity, I think. So please keep this in mind, as I'll give you what is called "general" mixing tips. I'm not sure what kind of sound you want to achieve, but starting around 1:25 many elements come in although the right-panned bass sound has almost not changed, and it's not clear in that section, which is what you call muddy or something like that. Solution: be careful about reverb and volume, use 3D panning plugins like Parallax Audio, or—it's a bit different, but—you'll be able to use PanCake. I think the biggest improvement right now for your situation is "volume". You can adjust volume balance - changing balance and finding your preferred version; if it's found, that means you have better mixing and can improve like "oh, I like this one better - this one sounds better" to the point you are satisfied. And leaving the work for one day and readjusting the mixing is so powerful. Also, writing down your vision or ideas about placing, mixing, and trying it anyway. I suppose the most important thing is not to compromise. Pursuing what you want to do with "no compromise"! Observing your favorite mixing/music is important too. Your piece has several nice parts and ideas, and I don't know the details about your game project, but this piece has a hopeful, beautiful vibe, so keep it up. Happy to hear your piece and welcome to YC, Forty6! Side note: just in case you're not familiar with it - Plugin Boutique is powerful for finding new free VSTs. However, be careful—there are a bunch of free VSTs in this world, so you need to choose great ones. If there are too many, you'll probably have no idea what to use, so at first, watching YouTube reviews like "best free reverb" and discovering nice ones is a good idea. Best, Lithl.

I just turned this into a YouTube short!

Hi everyone! We’re building Jamming Club, a calendar for finding jam sessions and checking how to join in. If you know of a jam or organize one, you can add it. The idea is to build it together with other musicians. https://jammingclub.com

Hello I’ve listened to the first two tracks; I’ll listen to more tomorrow… It’s a shame that, particularly with vocal works, we have to use our imagination quite a lot, given the virtual instruments we have. I think it’s a fantastic piece, with a distinctive harmonic language that I haven’t bothered to analyse – nor do I need to, because it sounds phenomenal. The choice of a string orchestra alone feels rather ‘restrained’ (one could imagine a larger orchestra), but I think it’s a good choice.

Hello First of all, I’d like to say that I found the piece lovely and very pleasant to listen to. At the start, the piano has quite a ‘minimalist’ pattern, but then it breaks away from that and sounds a bit odd. However, given the prominent role the piano takes on later, I think it’s fine. I haven’t checked the range or anything. But could the clarinet be a standard one rather than a bass clarinet? In many places, it’s in quite a high register. Thanks for sharing.

A beautiful score and piece of music. I think it keeps you engaged throughout. Brilliant orchestration. There are moments that I might perhaps have approached differently, but it’s simply a matter of one style versus another. Orchestrating is about making decisions all the time, and it’s brilliant. Thank you for sharing.

Congratulations. It sounds fantastic, with marvellous orchestration and such a clear score. It’s a distinctive style of orchestration, with a wealth of percussion and harmony, and plenty of doubled parts.

EDIT: I composed a B section too. I modified the text to address that. Hello everyone! I recently composed an AABA jazz ballad. I wrote the melody and chords, made a lead sheet, and arranged it for piano using basic techniques from the jazz book I'm studying. The first measures' harmony is based on John Lewis's "Afternoon in Paris". I'm sharing this work-in-progress because I'd love some feedback on a few things: 1. B section composition: I wonder if the B section works. I do kind of like it, specially the ending where I use parallel minor chords. But I would like other's people opinion. 2. Overall jazz language: This is my first non-blues piece using jazz harmony, so I would like to know if it actually sounds correct and idiomatic. 3. Two really objectionable harmonic moments: a. m. 2: A Db on beat 4 over an Ab7 chord (a natural 4th against a dominant chord). b. m. 4: An F on beat 4 over a Gb7 chord (a major 7th against a dominant chord). These are textbook "avoid notes" for dominant chords, and both are approached and left by leap. I wrote most of the melody intuitively without analyzing much. Once I analyzed it and noticed the clashes, I tried everything to fix them (changing Ab7 to Asus4, trying other substitutions, reharmonizing the whole piece, and rewriting the melody to resolve them by step or remove them). Nothing sounded good to me. I just prefer how the dissonances sound. I know how unusual, and probably wrong, these choices are (for now, I couldn't find a single example of them in any jazz standard) so I’d love to know if they actually work here, or if they just make the piece sound amateurish. The audios are myself playing at the piano. The video is the ABA arpeggio arrangement. Before that, I would play A once in another chordal based arrangement, thus making it AABA. You can find the piano arrangement score and a slow version of this first chordal A in the attached documents. Thank you and any feedback is welcome! jazz_ballad_part_1(slow).mp3 Maranta's_Prayer_Lead_Sheet.pdf Maranta's_Prayer_Piano_Arrangement.pdf

I've been quite obsessed with Aarre Merikanto's 6 Piano Pieces lately! I first came across this set a few years ago and quite liked it, but it somehow stayed at the back of my mind until recently. Back then, I was more familiar with his father, Oskar Merikanto, whose works naturally appealed to me given my longstanding affinity for Romantic music. For most of my musical journey, I've gravitated towards Late Romantic composers like Tchaikovsky, Grieg, Sibelius and Rachmaninoff, while also developing a fondness for Chopin and Liszt along the way. Over the past few years, I've gradually ventured further into Impressionist and Modern music, making Aarre Merikanto's works increasingly appealing to me. What's particularly fascinating is his stylistic evolution: from Late Romanticism to radical Modernist and Expressionist experimentation in the 1920s, before eventually returning to a more traditional Finnish national-Romantic style. Composed in 1919, his 6 Piano Pieces, Op. 20, sit at an interesting point in this journey, preceding his more radical Modernist period while already displaying distinctly Impressionistic characteristics. I find his transformation particularly fascinating and would love to explore it in greater detail in another post! I'm finding his musical language and the diversity of his works increasingly fascinating. Would love to hear what you all think of this set! I'm currently learning Nos. 1 and 2, and looking forward to exploring the rest as well.

Wow, I can't do that at least as of now, unless very slowly, likely very much away from the intended tempo, or that it is a really really slow piece

Many thanks, @PeterthePapercomPoser Two years ago, I (almost) discovered I had Final Cut pro that was coming along with Logic Pro when I bought it with my computer. So I thought it was the occasion trying to put together some music video. They require a lot of work, though, but I had great fun doing it. For my electronic music, I don't usually notate everything, but I still like to work on paper to scribble notes and thoughts. I found nice to show them in the video 😅

How did you do that?? (Asking for a friend)

This is my first post, but I came to this forum cuz I was desperate to hear criticism that I can use to hone my craft with (like for example, my mixing needs work and I can't tell if I made the song too muddy or not), This song uses a melody I created when I started making music mid 2024 I used the term 'video game music' because I plan on using this in a passion project video game I've been developing that being said, I made Ancaibe on FL Studio, the key is in B Major and it is 60 bpm Thank you for listening! ancaibe.mp3

I just created a YouTube short out of this one!

Welcome to the forum @DarwinNE ! I left you a thumbs up, subscribed and also a comment on YouTube! I'm impressed by how differentiated the video is! Including your own music notation of the composition as well as yourself playing it and also natural landscapes was just great to see and hear! I would have loved to see some images of Jupiter's moons thrown in as well! Thanks for sharing and welcome once again!