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To answer your question about these techniques Chopping is a percussive technique where you pick up the bow and you near the frog push downward at the string. There should be done with a good amount of pressure, causing a short, percussive chopped sound. The subharmonic is another string technique where you grab a little more pressure than usual on the bow there should be a sweet spot to this. A very good contact point should be a little towards the fingerboard, but the resulting pitch that comes out of this should be an octave below the target note. This is created because that the bow is gripping twice as much times when Bowing, so that heimholtz motion is doubled

i like the usage of chinese instruments here. definitely unique and original. i will choose to not grade the playability since i do not know the intricacies. the score is definitely readable, but it lacks a lot of things (dynamics, articulation, etc.). the resulting look is very bare. i could not hear any memorable/distinct themes/subjects as they are not presented well. sure, there are contrapuntal lines, but they are just that, lines. without noticeable melodies to cling onto, the lines fall flat imo. one can probably notice upon further score inspection (or multiple listens), but i do have to consider the first couple of listening experience as well. furthermore, i couldnt associate the piece with the given pictures, other than it sounds chinese. the piece leans heavily into pentatonic, but there is also no clear harmonic direction. it feels aimless. good contrapuntal writing though! Melodies Themes Motives 2 Harmony Chords Textures 2 Form Development Structure Time 3 Originality Creativity 7 Score Presentation 4 Instrumentation Orchestration Playability N/A Execution of Given Challenge 3 Taste 2 Average Score: π (3.14, not the exact value of the pi decimal preceding it, but still lol)

Hello It’s quite a pleasant piece. But I agree. There’s some technical issue I’m not aware of, but it all sounds very unbalanced. On another note, I don’t know what your background or training is. But I think there are certain pitfalls we all fall into when we’re beginners (and even until we’ve gained enough experience). And that is: we put a large orchestra on paper (or screen) and think that by filling it up as much as possible, we’re orchestrating. But that’s not how it works. I think your first orchestrations should be with small, chamber orchestras.

Good start, idiomatic and the part leading is correct.

thank you so much for your feedback! ill try to implement your suggestions in my next work

Some nice use of extended string techniques here. I've never seen sub-harmonic and chopped directions before. Wonder if you could explain what they mean, and how they're performed?

Hi Sam, The first problem I notice with this, is a technical one. It sounds like you have your master level set too high in the mixer, and it's causing a lot of peak level distortion. There's also quite a lot of octave doubling across the orchestra. This is notorious for causing distortion, because the instrument libraries are artificially adjusted to be perfectly in tune. So you get lots of frequency build up that you wouldn't have in a real orchestra. Some more expensive libraries allow random detaining, which helps circumvent this problem. Octave doubling is something forbidden in strict counterpoint, because it sounds weak. So it's probably best avoided where possible. (I'm being a bit of hypocrite here, because I've made exactly the same mistake in the latest piece I've posted!) Anyway, hope that helps a little. Alex

＝ Lithl - Untitled Track 04 = Feedback is always appreciated, and I respond as soon as I can. Also, I'm sorry that I can't provide the sheet music for this track. I exported it in the evening but didn't save the project file, so I don't have anything left to transcribe it from. Thank you.

That's Baby, one of our rats! They have a small part in the sonata, like maybe the "typewriter music" third movement m. 17. Baby hunts, slaughters, and devours house mice fur and all! He is Jackie's rat, loves her! She loves him. 🥰

@UncleRed99 My pleasure as always. :)

I just came from watching this on YouTube Channel! The sprinkle of chromaticism (modal mixture and bII6) is a colorful touch. The sudden modulations reminds me of Beethoven and other romantic composers. I do agree that Beethoven manuscripts are readable. :)

I agree! Bach's WTC, his piano suite, inventions, the art of fugue, and many more should have you greatly! Also, look into his chorales. That is always best place to start. Take a theme and harmonize in 4 parts. :)

Thanks for your kind comment. I’ve been doing this for a long time now, and I’ll say that this kind of counterpoint is a process of continuous refinement, that is as much formed from my ear training through extensive listening as my technical training. Generally outer voices have initial priority during the process that I QA largely by ear. The most difficult aspect is structural: not just developing ideas but directing them in a tonally coherent and ascetically pleasing manner. That’s where the great complexity often lies beside the voice leading intricacies.

@Markus Boyd The baroque period counterpoint is truly refreshing to hear in each of these pieces. They me remind me of J.S. Bach suites, and of he used the strings in this manner. I love how strings dance so eloquently. I just love it. Just a quick note about stem direction: if the stem is on or below the middle line of the staff, then the direction is up. However, the direction depends on surrounding notes. Nothing major. Just a quick a reminder.

@PeterthePapercomPoser for answering that. :)

The Addams Family Values (SNES) - Creepy Creatures Extended:

Thank you for the clarification. This would be the answer to my question.

The winners of the 1st, 2nd and 3rd place trophies will be determined by points allotted in the following way: Every 1st place vote in the poll gets 3 points. Every 2nd place vote in the poll gets 2 points. Every 3rd place vote in the poll gets 1 point. 1st place will be given for the entry with the highest number of points. 2nd place will be given for the entry with the 2nd highest etc. ....

uh oh. There is a tie for first place!

Was hoping to get her over tonight to just get drunk and do stupid merde, caca, Sheiße. She is just as capable of that sort of thing as I am! 😃 She came over. Drank with me, played with our rats Baby and Fatty, crashed on my living room floor. I'm watching movies; The Matrix, Doctor Zhivago...😄 The Overture to Doctor Zhivago is well-written, competent, good film composer, but gaudy and gawdawful music! Boris Pasternak who wrote the book was a composer himself...piano sonatas... Boris Pasternak - Wikipedia Boris Pasternak ‒ Piano Sonata in B Minor Pantonal, too many black notes; why even use a key signature? He WAS 19...and a good sonata despite too much chromaticism and dissonance. Influence of Scriabin.

Third movement measure 55 is our drunken non-sexual play, like her drunkenly hurling ping-pong balls at my junk! 🙃

Measure 21 third movement; THE SEX THEME!!! Not between us, Jackie and me; non-sexual, Platonic. Everything but sex, like hitting me in the crotch with batted ping pong balls whilst drinking strong beer...😆 Hell, throwing knives, me with 30 years of basic Wing Chun Kung Fu and Chi Kung (i.e. Breath Regulation; sometimes I don't need to breathe in a high Chi level) experience? She doesn't really like knives, but likes to see me stick them tumble method, after practicing a few throws to remember how to do it, judge the release moment. Accuracy? I can hit the broad side of a barn, as they say. 😁 I'll teach her David & Goliath sling play some day! 🤣 ...make applesauce from raw apples! 😉

I AM 57 and well-read, so I know about the 150-year lease after the Opium Wars by the British Empire 1847-1997 and all that, but I have not yet swum there from the east coast of Virginia! 🤣

Really nice work! I listened all the way through. The section from m 72-105 caught my attention so I took a closer look. There are a lot of good ideas here, but the counterpoint feels a little messy because there are a lot of voices on top of each other and crossing each other, so it’s hard for to hear each voice independently. M 76-80 is particularly noticeable. The second violin part overlaps with the first on and off. I would suggest maybe instead of the divisi in the seconds just give them their one independent line? Since the divisi overlaps the firsts quite a bit. Overall great work though, I enjoyed listening!