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Stumbled across this video tonight. AI’s version is actually far better than I had expected. In that respect, I’m impressed. But it is soulless, bringing to mind the first movement to Goreki’s symphony no 3, in which he puts to music the cold, banal and machinations of the Third Reich. It also goes without saying the human fugue is awesome. Eager to hear other people’s thoughts.

thank you! I had already decided where the improv would begin and end, the differences are how i depart from the beginning and arrive to the ending There were a few things i did in take 1 that i liked so i repeated in take 2, but all the differences between the two were improvisations since I'm not an extremely skilled improvisor there is still a buffer between idea and execution, things that i would probably do differently if it were a composition (the 'wrong' notes) ; so it was mostly just about translating ideas and emotion in real time no matter how how 'good' it sounded The thing i played at 0:32 of take 2 was basically the melody of wet hands from minecraft.. but with major seventh dissonances a couple octaves up, an effect i got from messiaen's la colombe

Really thanks for your considerable feedback.

This is very beautiful music, I do have to say. Thanks greatly for sharing it with us. ~~~~~~~~~~~~~~~~ One thing I will caution is: be careful that you don't treat the Viola as a 'failed Violin'. Throughout the entire composition, I already got that a Violin III and IV can basically substitute for Viola I and II. The only two measures that (barely) kept this from happening is meas. 35-36 (Meas. 35+37 for Viola II), where Violas only visit F3 and F#3 pitches right below Open-G; and then ever goes down to an E3 ONE time throughout the entire movement. The C-string never gets visited again. Furthermore, the motif's/phrases containing these quick, evanescent C-String usages could easily be taken 8va. Once that is done, Viola... er... Voila! You got yourself a Violin III and Violin IV line. (Similarly, I caution choral composers to remember that an Alto is not the lack of a Soprano voice. Altos have their own meaningful and useful range and rich intonation. Many to most Altos may have accepted their 'lazy' Soprano-supporter's role; where all women share the exact same lowest note in the composition, which is either middle-C or a few semitones below, while Sopranos' highest pitch sores a P4 to as much as an 8v above Altos' highest pitch. This may be a choral issue, but I think it absolutely bares relevant mentioning here; seeing the parallel drawn that often makes this a shared concern between the vocal and string world.) (Also, regarding taking up the few F's and E 8va, I get the counter-argument that this may potentially muddy the meaningful motions of your intended counterpoint. This muddying, as I observe, is fairly minimum and mostly unnoticeable. And, the motions that may result in hypothetically putting these up 8va have already been noted in other locations in the score; perhaps as little as just a few beats later.) ~~~~~~~~~~~~~~~~ This doesn't take away from the lush and organic contours you used; I meant it fully and transparently when I say this is beautiful music that I relate to nicely. Still, this was one concern that completely jutted out to me.

How's it happening, YoungComposers community, Would you all like to casually take note of all the potential historic inaccuracies of this suite's movement? 😁 (I have two.) Jubilant Hall for the Dance of the Giants (composition) - Sonata in G for Alto Piano Trio - Movement I - Evening's Entrance.mp3 3-movement Alto Piano Trio Suite in G - Jubilant Hall for the Dance of the Giants - Movement I - Evening's Entrance (Sonata-Allegro).pdf

Hello I agree about the glockenspiel – it’s very, very piercing. So it should be reserved for moments of great brilliance or when the whole orchestra is playing at full volume. Or used very sparingly. But there’s one thing I’d like to mention. And that is that, for me, using a set of notes like this isn’t limiting at all. The possibilities offered by using something like this are limitless. It’s simply a framework to build upon, just like a major or minor mode, or a thousand other things.

Hello, I'm not really sure what to say about an improvisation...which sort of exists as this beautiful in between with live performance/virtuosity and composition. Though both takes sound similar. So is it more of an improvisation on something you have already written? But yeah, very jazzy. It gets intense at times. You got some nice "licks" that you revert to at times. Comes across as a very experienced musician. Once again, not sure what else to say. I like that you don't always keep the pedal down. It sounds very smooth, not really like an improvisation, but also sounds pretty free flowing. You play the notes with confidence, even the "wrong" ones. But you probably already know that. I like the 0:32 minute thing that you play on take 2 most. The little glissando thing around 1:40/1:50 is nice too, on the take 2. I enjoyed listening to both takes, thanks for sharing.

Hello, I've listened to this one twice as I type this. It's starts off very fast paced and it feels like there is so much thrown at the listener. It does sound good initially to my ears, but sort of becomes a barrage of notes at some point (which I want to be clear, sounds good...just feels a bit discombobulating). I think that a real life recording could potentially add clarity to what the piece is trying to accomplish. I guess I'm sort of the opposite of you...I could never write music only via musical notation. Whereas I guess you wrote it all by pen! That's pretty darn awesome if you ask me. I mean, I guess what I am saying is that listening to your music sort of feels like watching a Zack Snider movie. There are these really nice moments that happen in the music, but I struggle to hear the bigger picture if that makes sense. The moments are nice though and it's an overall pleasant experience. (I like Zack Snider movies). Once again...it's possible that having a life performer could bring out some of the ideas in your piece. Also, the middle section is reaaaally weird (in the context of the overall piece). And you obviously are aware of this based on your intro for the piece. There are some really nice tender moments in the middle section of the piece too. As I finish typing this...I've listened to it 3 times. It gets better with each listen...I think I can hear the ideas a bit better as I listen to it more! And after 3 times, I am starting to see the little variations when the main theme returns each time. So there ya go. It seems entirely possible that your music requires a few listens to really get into it. And from my point of view, your music is intriguing enough that I wanted to listen to it more than once :)

Hi. I have Adhd and Autism. -TristanTheTristan

You had me a Jeremy Soule (LOVE "Far Horizons". That Horn solo... 🤤)

WHAT. ARE YOU DOING. IN MY SWAMP!? Anyway. No, this is a very interesting submission. I have nothing that particularly sticks out at me that requires much critique. I feel you've ecapsulated what you sought out to, and the instrumentation, syncopated, percussive feel of the piece is spot on for the intent. Do it again, except add more cowbell, next time (I kid, I kid 🤣)

A very difficult and sensitive topic! Many of us here - based on many conversations - also appear to experience perfectionism. It will vary to what extent that impedes productivity, but the more problematic and chronic manifestations tend to lean towards the OCD spectrum. And quite often that might be rooted in some kind of childhood trauma. I do feel at times that most of us are mad here. Lots of obsessive types around - including myself 😅🤭😆

Hi Luis. It's good to limit yourself in this way, as it forces you to be creative, and I think you've pulled it off well. I've found the Glockenspiel quite hard to use, as it's so metallic, it can really stick out. Here I think it works well though. The only thing I would say, is that you rarely, if ever, see chords in the glock. That's because they're difficult to perceive in such a high register. (I did use some in my latest orchestration; but I've been told it's a bad idea.)

Thank you!

@CrystalCanon Thanks for listening; I'm glad you liked it. This set of notes is very small—just four—but I saw it in a piece by Schoenberg and wanted to experiment with it. It’s hard to point out all the relationships in this short piece, but practically everything is derived from that set. Horizontal sequences appear, as well as vertical chords—rotated, inverted, and so on. I think the genesis of these pieces is like that of all others: planning a structure, marking the cadences, and planning the climactic moments, as well as the moments of tension and repose. From the previous version for solo piano:

For 13 years old, your command of the english language is excellent!. 🙌

That’s great, thanks for sharing. I’m also largely self taught with some limited formal guidance here and there. You play the piano, right? I suggest that you compose something like this for piano but at your practical skill level; and then you can play it for us. I did wondering during my listening about the playability of it. Lastly, there are some aspects of your diminution in the rondo theme that I felt unnecessary. If you don’t mind, i’ll have a play around with your theme later at some point to illustrate my point.

Don’t be silly! This kind of collaboration is what makes it both interesting and enjoyable! This was my first work of this nature so it’s all very helpful. I’ll play around with your suggestion. Of course, I feel it offers opportunities for further development.

Hello @Luis Hernández! It’s a wonderful piece—kind of reminds me of Schoenberg’s Op. 16. It’s difficult to comment on the structure of the piece as I’m just starting to work with pitch class sets. Can you explain a little further your thought/creative process when using them? How strict/free was your treatment of the 4-4 set in this piece? Is all of the material derived from it? I really like the sense of orchestral color, and those delicate transitions between dynamics. Great work!

Hello! (I came here from @Lithl's tag. Thank you! Btw I am listening to Saint Saens Concerto 5! It's great. You should try too!) So I don't believe you need any music theory to start composing, but to get better, and faster at the 'getting better', you do need music theory. I am technically a self-taught composer. I only started music theory lessons last year. I literally just write what I think would sound good. Here is a sample. Idea pops into brain during important test. (I am thirteen so I am still in school) I finish writing the test but idea is still there. I finish the rest of the day without forgetting the idea. I forget it on the way home. I re-remember it after like 5 hours. I go on musescore and write it. And just pay attention to a few stuff. Try to prevent parallel motion. Only later I was taught this was actually theory, but I first came up with this when I was seven. Voice leading! Very important. Same as the one before, but I came up with this when I was six. Try to break the rules 1 and 2 effectively. Got it? It is simple. Music composition is like a huge field, something like 内蒙古. You start from different places and go to different places. You do whatever you want. Whatever you think works. You will gain self-consciousness gradually and therefore improve. When I was nine, I thought I was good at composition. Now looking back, although still better than my classmates', it is nothing compared to my work now and some of the fellows on this site, YC. I see you are new, and that's not a problem, and by your state right now, it seems like you are very interested in composition. Good news! That's the first step to become a good composer or good anything. You are intrigued by it. When I first joined, this is what @Thatguy v2.0 said to me not long after I joined. Thank you once again, @Thatguy v2.0!!! @Woofi_9 Good luck! P.S. @Lithl Your reviews are not bad, they are great! Although it may not be backed up with music theory, it gives a listener's thought on the music. Very important. -TristanTheTristan

@Markus Boyd Thanks for your feedback! Yes it does sound a bit Slavic in certain areas. No I can’t play it myself sadly. Wish I could! For this piece my approach was to be true to the rondo form, to play around within that framework. My training is very limited, mostly self taught. I’ve read a lot about composition and taken some theory classes, but never had a composition teacher per se. Cheers!

Yes, I have issues with bipolar disorder. It typically manifests in longer depressive states than manic ones. I find that I do most of my best writing during those, whereas in the manic episodes my mind is too jumbled to come up with ideas. I’ve also noticed that when in those depressive periods, my music actually tends to be less dissonant. While I usually write more dissonant pieces when I’m feeling more normal.

What I also didn't notice at first is the parallel 4ths between Violin 2 and Viola! I played around with that idea once again in this following version. Let me know if you want me to stop! I don't mean to take too many creative liberties with your music. AncientRuinMB2.mp3

Thanks Mark, for the kind words! I have completed all four movements now. Hope they might one day be performed as a tribute to Frank Bridge. An underrated composer in my opinion. Alex

I didn’t express myself very clearly, I’m sorry. It’s not that I don’t want to, but for one thing, it would take quite a long time, because the development of my compositional language hasn’t exactly been straightforward, and my musical expression draws on many different influences. I also think I’m not very good at putting these things into words. I can tell you what other people have said, though. I often hear that when they listen to my music repeatedly, something suddenly clicks for them. My friends, who have been with me since the very beginning, might actually be able to explain it better. After all, I’m not an outside observer of my own music, so it’s difficult for me to see it from the listener’s perspective.