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Hello, I didn't read any of the preamble you provided for your music this time. I've listened to this piece on/off in the last few weeks. Like your other works, I find it very intricate. One gets the feeling like you are very deliberate about your notes. As usual, the engraving is absolutely beautiful. Is the applause at the end from a performance/is this you playing? 1:38 is very nice. I don't know why but the main theme sort of reminds me of something I might hear from a Pokémon game (ahhh I know, maybe this is not the feedback you want to hear for your elegant, pristine works!) Generally speaking I found the harmony to be a bit weird. Not in a bad way. The song comes off written in a way where it's obvious you know how to use conventional harmony. I guess perhaps you have found/looking for your voice? I can't tell just yet...probably need to listen to a bit more of your music to find out. I find that your music does tend to be a bit muted from an emotive point of view. I don't think this is intended to be a criticism...it just doesn't feel that emotional to me. I hope that makes sense. Perhaps it's a compliment? The music feels really deep sometimes, but the weird random harmonies throws me off a bit. My ear isn't really that used to all of it.

Hello, Looks like you are on the right track to composing music! You didn't really ask for any specific feedback, so I will just throw some initial thoughts that come to mind. The piece is sort of long enough (almost 2 mins) but doesn't really move too much from your chord progression. You mentioned something about "listenable". I mean, I only have 2 mins of material to work with. I hope that you aren't trying too hard to focus on playing it too safe. In my opinion, you really gotta take risks. I always remembered my second composition I ever did, I felt like it sounded weird and disliked it, but my brother really always encouraged me to go further with it, since he found it more "interesting" to listen to. Somethings to consider - adding intro/outro. Often times, adding some sort of development section really spices things up. It's no coincidence that most pop music these days might throw in a bridge right before the ending of the song. It's a tried and true formula. So yeah, I would really look at the structure of your piece, that's the main thing that really stands out perhaps as being next steps for you... One of the core compositional techniques is to be able change things. Change the rhythm? Change the chord structure? Change key even perhaps? Then you get into more abstract ideas...change the atmosphere/change the where the listener is listening/change the genre?? I hope you keep writing, cheers!

Hello, They sound real nice. Sort of feels improvisational, reminds me of something that I might hear in an indie movie or something. Felt a bit cheesy at times, but not in like a bad way, you know? Good cheese.

Hello! I am the Estonian composer August Hirv, and I was wondering if I might share a couple of my recent works with you. August Hirv - Slowrun Up To The Air August Hirv - Remembering The Way To Cheers! August Hirv

Thank you very much. I think although there are many parts, most of them are quite short in comparison to real baroque pieces, but I think it'll improve with time :)

Thank you so much for review I will look forward it

Maybe a little bit yes, I think most of what I write imitate or tries to imitate baroque style, even if I don't really intend it 😆. I didn't really knew how to write something longer/with less repetition on so short "theme", that was I think main problem here... If you could write, what could be done to achieve this, it would be very nice :)

Hey @Wieland Handke ! Thank you so much for your review! I always want to reply but I have been sick for almost two weeks (still so) and threw up twice 2 days ago, and also digging myself into Scarlatti so I am not that active in this forum recently. Whenever I write I never expect how long a piece would be, as I am not writing for any competitions/commissions. I always say that I am selfish and I always write for myself instead of any other people. I write to express myself and I will let the music grow and speak for themselves. The duration of "my" piece (if they are really mine) is not what I the mere labor barer can control. What I have to do is to make sure the music express itself out fully, resonably and coherently, with technique and care and honesty only. I didn't choose the instrumentation either; the 1st inspiration popped out during a night when I woke up from sleeping, in the sound of a String Sextet which is the opening of this piece. I have no choice but to follow my inspiration haha. I even (unwillingly and forcefully) write 6 part fugue thx to the Sextet medium, as if I write for any other medium or instrumentation I wouldn't have dreamt of myself tediously writing a 6 part fugue! This shows another aspect of how "selfish" I am as I only write for myself, I never care for the feeling of my listeners! :) I don't think of any imagery for the beginning but I think yours is an apt description of it. What I was thinking then was human represented by freaking violas immersed and resonated in Tao by Heaven (represented by Violins) and Earth (represented by Cellos), that's where my shameless subtitle "Heaven, Earth and Human" bases on. The fugue is in 26:33 of the Youtube video for the whole Sextet, or 11:53 in the 2nd movement audio. Thank you so much for listening to the Sextet and remembering the piece even it's a year ago! I really appreciate it! Henry

Greetings! This is the recorder consort version of the before mentioned madrigal, the reason why i instead am posting the recorder version and not the vocal version is because i have to use an AI to render my madrigals and vocal pieces, and sometimes it doesn't sound good, so that's why i choose to post the recorder consort version, enjoy!.LOB 133 O cruel fate!.mp3

This is a quite small and simple pavane i made some time ago listen to Pierre Phalesè pieces, i hope you guys enjoy it, i might compose a galliard to accompany but i'm not sure yet! by the way, the instruments are not bound by their physical limitations, in this case, this shawm consort can't reach some notes i wrote. The reason why is because it's the soundfont that fit best for this piece. LOB 126 Padovana Antiqua.mp3

Fellow period composer here. Although i'm specialized in renaissance and early baroque music this is quite lovely! It's incredible what you did, the piece is quite long aswell, i have tried doing similar pieces but i always give up, seeing this makes me quite happy. Bravo!

Hi, welcome to the Forum! Not only as a composer, but as a harpsichordist, I find that there is too much of the same for too long. Essentially, a lot of repetition and not enough imitation/ independence. However, before I go on to elaborate, was it your intention to imitate baroque style?

I composed this lovely piece today and remixed it with Suno. It turned out really, really good, in my opinion. I've finally hit on what works compositionally, and I've been trying to push the limits of what I can do with music, with this piece being one of my best. Thank you for you kind words! Yes, I do indeed compose the original source material. The music comes out far better that way--more emotional and more suited to one's own tastes--provided you know what you're doing composition-wise. You mention that the biggest challenge with AI music is how cliched its output can be, and I agree 100%. All AI can do is repeat patterns it has been exposed to, with an added element of randomness. It's essentially a glorified copying machine. This is why, as I mentioned, I like to feed it my own music. When one feeds it one's own music, it takes on a role more akin to a spell check or a hired sound remixing specialist, the latter being something to which most professional composers turn, remixing being a different animal than composition, one that most composers never master (in both senses of the word "master"), myself currently very much included. To answer your question, I'm not entirely sure what you mean by reversing the process to humanize the production. Could you explain?

Hi, I present to you my new piece - short (1 min) etude for harpsichord (a little break after my last quite long cantata :) ). As always, advices for future or this piece are welcomed. Etiuda.mp3 Etiuda.pdf

The third track from my very first vinyl - to be continued... An old car, a bit sad, slightly melancholic—exactly the kind of song you'd want to listen to while driving in the rain. All guitar parts were recorded live.

Again, this time score with "normal" clefs :) De Profundis_normal_clefs.pdf

March from the cycle of musical illustrations to Max Dalin's novel "The Bonfire and the Salamander." Composer: Alexander Khomenko. A stylization of early 20th-century military marches. Written for wind band.

I listened to your waltz. The concept strikes me as interesting, and so does the way you work with harmony: you clearly try to move away from conventional progressions. The semitone relationship between the triads sounds interesting and vivid. But, purely in my opinion, it isn't very well realized here. If you make a signature feature out of this progression, it should be carried through the whole piece, very clearly and consistently. Yet in bars 6–7, and again in 9–10, you break your own scheme, and the piece goes from interesting to a bit dull. If you had held on to this harmonic ostinato (G minor and F-sharp minor), it would have come out much more convincing. Good luck! =)

Poem by, Goethe: Über allen Gipfeln Ist Ruh’, In allen Wipfeln Spürest du Kaum einen Hauch; Die Vögelein schweigen im Walde. Warte nur, balde Ruhest du auch. Aesop.mp3 Aesop.pdf

Thanks for posting the update. For the voice-leading question, you could choose one short cadence and post those bars with the vocal parts, bass and your continuo realization visible. That gives readers a manageable example to discuss, and you can apply the idea elsewhere rather than revising all 18 sections at once. If your choir-notation question is about the older clefs, label that separately so readers know you are asking about readability rather than transposition.

I've updated playback now. Continuo is probably not very correct in meaning of voice leading, but it would take triple this time to do it... Also the score had some minor typos in choir words, so it's also corrected. I don't know if I should change keys for choir, so I let them stay like this for now. Waiting for further things to improve here or in next works.

The second track from my debut vinyl album. It consists of two different sections: the first part transports you about 200 years back in time, followed by a repeating four-chord loop with varying arrangements and, naturally, live guitar tracking. This was translated automatically as I don't know English, so I hope it accurately conveys my message.

Thank you! :)

listened to your quartet and thoroughly enjoyed it. It's a finely crafted neoclassical piece. You've both preserved the style and built a very clear form, which is extremely important for works of this kind.

I listened to your composition and enjoyed it. It has an interesting image, and its musical language is simple but not boring. The form is good, too: a well-proportioned ternary structure with a recapitulation. Best of luck in your future work :)