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To give some background to the work, here my immediate repost, where I share the piano score and the piano rendition of the excerpted fourth episode from the original fugue. Comments and questions about the piece are welcome. Episode4-Fugue-B-minor.mp3 Episode4-Fugue-B-minor.pdf

My dear fellow composers, after some weeks of quiescence, I’m presenting to you today my first attempt at orchestrating an existing composition for a full symphony orchestra. The „sketch“ I have chosen is a composition of my own, a huge six-part quadruple fugue for piano in B minor, from which I picked the fourth episode being a transitional section between the development sections. I especially love that section for its modulations, its slow arpeggios and the interwoven voice leading, which finally leads to a calming point on a diminished seventh chord before starting the next fast development section. As I have no experience in orchestration for an entire ensemble, all kinds of feedback are appreciated. During the last few months, I thoroughly followed the excellent reviews of @MK_Piano on orchestrated scores, so that I hopefully got around with the most obvious pitfalls due to its help. However, there are a number of open questions remaining. I hope, you’ll enjoy the piece. Wieland Episode4-Symphonic-Fugue-B-minor.mp3 Episode4-Symphonic-Fugue-B-minor.pdf

Also, note: I can not comment about instrumentation/orchestration for the score is piano score. If you want us to do that, a full score should be provided. This is why I am cautious about AI in music.

I'll edit the post to include the process with as much detail as possible. I'm a bit winded by the work, so bear with me, while I "catch my breath."

Thank you for answearing! Yes! I would love to see these librettos that you think it would fit, these poems you sent are awesome! Currently i'm still in highschool, so i would probrably work on it on my free time, i will still see if its even something i can do now or later. But do send me your librettos and the ones you think would be appropriate!

Still interested?

I'll check when I get home :).

Why hello there! My gosh! The many textures and colors in this piece is fantastic. I love the haunting vocal line over the lush, enchanting strings and the wood runs. The piano part is a chef kiss. I can understand why you choose to not have a brass section. They are often loud. That would take away from the mood from this piece. To me, I can hear in this in haunted mansion ride.

Here's what I can say about this: I love the haunting lyrics that match video. I am curious to know your process. What your set up is.

@Grant Weep Firstly, I'd like to say that I really appreciate the time you took to listen and write such thoughtful feedback. It's also lovely to see someone going through the score with such care! The Denisov piece was definitely an interesting recommendation. I found the corruption very unsettling! it actually made me feel uncomfortable in certain sections! The concept itself is fascinating, isnt it? I also think it works particularly well with multiple instruments. An orchestration where certain instruments represent corruption while others clarity and structure could be a really interesting idea to explore. Good catch on the notation issue. That was definitely an oversight on my part!

Yeah, how you wrote this. Can you explain to us your process? What tools you use and why there is not full score. That will help those who want to review (including me) greatly.

Hello, @Liaway! Welcome to the Young Composers Forum! Just to start, this topic is dedicated to piano and keyboard works, so while you'll see a lot of classical pieces here, it's perfectly fine to post anything that fits the instrumentation. Don't worry, your work is a great fit for this space! You'll probably receive detailed feedback later from composers who are far more knowledgeable than I am, but I’d like to share a few thoughts of my own first. My first impression was that this is a really gorgeous and nice piece. It has a rich, full sound, and I enjoyed listening to it, especially the first section. I also liked the interesting progression in the section starting at 10:48. On the other hand, the volume balance in the part starting at 2:28 and around 5:15 stood out to me; it felt extremely quiet. I found the section from around 6:52 to 10:40 a bit repetitive—honestly, it started to feel a little tedious. It feels like there are so many ideas packed in that being a bit more selective could really help the piece come together better. Of course, that’s just my personal preference. Also, overall, it seems like you're still getting the hang of handling articulations in your DAW. It can be bothersome work, but since it's a piano piece, simply tweaking those details could create a much deeper, better listening experience. Then again, that’s just something that comes with practice. Oh, and one small thing—the title in the topic header is listed as "Opp." :) Well, I wasn't even composing when I was 15... so the fact that you can create something like this at that age is amazing. I’m not in the music industry myself, so I can't say for sure, but it seems like you have a very high level of skill in composition for your age. I guess you have studied music formally, maybe. Anyway, I’ve pointed out a few things, but I think the piece itself is great! There are many wonderful people in this forum, so I hope you enjoy it! Best, Lithl.

styginis kvartetas.mp3 styginis kvartetas.pdf

Very well done! Thank you!

Hello you all , it's me here Liaway (this is my nickname/pseudonym to not say my real name) I just recently found this forum which looks like a great ground for feedback and appreciation on my work and I don't know is it on-topic or not but I think my work fits pretty well with Classical music so I'd post it here I'd like some feedback on my work as I am currently 15 Op.2 No.1 Audio (no image) (1).mp3 Op.1 No.4 (C1 , Ossia added).pdf

It sounds pretty good to me. The thing is, I don’t think music actually ‘describes’ anything. It’s a different matter if you explain which image or situation it accompanies, as is the case here. And yes, I think it fits that perfectly. I like the bit at the end where a section comes in – I’m not sure if it’s brass.

Here are some songs and lyrics. Some are from comedy shows and not suitable for Renaissance or Baroque modes but they give you an idea of my diversity of work. I'll work on 'Pericles' and 'Titus' over the next few days (though I shall be away for four days next week) and could send you a libretto for either in a couple of weeks' time, if you wish. You may not like either but it would be worth looking to see. Best regards, Richard Poems and Songs by Richard Moore.pdf

Thank you for replying. I have written some libretti based on Greek classical drama and operas based on plays by Shakespeare. My libretto for 'Titus Andronicus' needs some revision but might respond to a classical baroque treatment. The original is a rather gory tragedy but I refine the gore (I hope) while maintaining the main plot thrust. I have also written libretti to form an operatic version of 'Twelfth Night', 'Pericles;, and 'The Winter's Tale' (also 'Cymbeline' but that one is less good, I think). I'm fond of my 'Pericles' libretto. I think it makes a good dramatic entity and would work well and dramatically on stage. I am very conscious of audience requirements - a strong plot and in opera particularly a transportation to a world of higher sensibility without losing basic pleasure in melody and dramatic thrust. May I send you some sample lyrics - I have a whole sheaf of poems and opera lyrics which i could send you as well as the libretto for a particular opera. I have word and pdf files available. For the record, I live in the Scottish Highlands and am in a final stages of a career teaching literature in Universities. Hardly young any more but wanting to branch out more into music drama. (Several of my straight plays have been performed in universities). I attach one of my straight plays and will send some songs and lyrics later today. Every good wish, Richard JSWRM A Faithless Floréal.pdf

RESOURCE 3 Hi Guyz ROYALTY-FREE | COPYRIGHT-FREE | NO CREDIT REQUIRED Backing Trax, for songwriters, producers, artist, & SINGERS. 1: STRUCTURE : CHORUS, VERSE , BRIDGE , | DOUBLE CHORUS-ENDING | 2: TEMPO : 125 BPM 3: GENRE → ROCK ! 4: ENCODED SETTINGS : 320 Kbps, CD Transparent Audio | 44,100 Hz, 16 Bit, Stereo, MP3 5: DOWNLOAD : Right-Click PLAYER | Save Link As RESOURSE 3 - ROCK 1 Royalty Free - Copryright Free - READYMADE BACKING TRAX.mp3 RESOURSE 3 - ROCK 2 Royalty Free - Copryright Free - READYMADE BACKING TRAX.mp3 RESOURCE 3 - ROCK 3 Royalty Free - Copryright Free - READYMADE BACKING TRAX.mp3

Μy dear friend, I honestly don’t know how to thank you for such a thoughtful and heartfelt message. Reading your words genuinely made me smile. Of course, being mentioned alongside composers like Mozart and Beethoven is an incredible honor—far more than I feel I deserve—and I’m deeply grateful for your generosity. What touched me the most, though, was what you said about wanting to hear just a little more when the music ends. I honestly don’t think a composer could ask for a more meaningful compliment. These Binary Sonatas are very special to me. They are my musical diary, and each one reflects a part of my journey as a composer. Knowing that my music connected with you in such a genuine way means more than you can imagine. As for your question, I write mainly for the piano, as it is my primary instrument and the place where I feel the freest to express myself. In the past, I did experiment with other ensembles—I wrote a Divertimento for wind instruments and a few Minuets for string quartet. I would love to write more chamber and ensemble music in the future, but for now, my musical voice always seems to find its home at the piano. Thank you again for your kindness, for taking the time to write such a beautiful message, and for continuing to follow my music. It sincerely encourages me to keep composing.

Ai was used at the very end after composing the work as post production. There's nothing easy about making music with Ai, just putting that out there.

Can I ask what you mean by AI in this work? I admit I am confused from seeing a finished score attached.

I wrote a symphony that utilized a little bit of everything. The composition took 10 years to complete, and am very happy with it. It features areas around, Kentucky - mostly the pennyrile that holds a lot of pride in the area. The score is attached if you want to read along with the music. Pennyrile Suite_Harper.mp3 Pennyrile Suite_Harper.pdf

Thank you, currently i'm not planning to add a pavan. But i could add one later!