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Sonata f bemolis.pdfHere is my first sonata may you like it or give some feedback😄 Sonata f bemolis.mp3

I like your theme here very much. It would give you lots of interesting room for development. As for the voice software, I do think it can really help people understand how a piece will sound all put together. Even among professionals working in the arts, not everyone is good at visualizing a finished product, so anything that pushes a demo towards accurate representation of the performed work can be helpful for people checking out your work. How much work and expense is it to put this extra layer into the recording? For something like this, where you have orchestra plus soloists and choir, it may be more worth it than for smaller works, because if you didn't, it might be hard to choose an instrument to represent the voices that would stand out in the mix, particularly for someone who was trying to read across the full orchestral score and pay attention to everything at once. Looking forward to seeing the development of this project!

Honestly, very stupid question if not a much more stupider idea. But is it possible if someone for a competition brings in a piece of music that they have already written prior to the competition, and if it coincidentally fits the criteria they could enter it. This sort of makes sense if they want that piece of music if they’re confident in it to get it judged in a different way.

Hello, I listen to this a few days ago in the car so my memory may not be as fresh, but I didn’t have time to actually review anything. From what I could remember, the composition technique was good and the piece itself was good. It’s just good to keep note that you’re using multiple string instruments per section. At most, this is supposed to be a quintet. You’re calling for multiple violins, violas, and cellos as well with the samples corresponding to such. Anyways, I’m going to be listening to your piece again and I’ll give feedback there. Score presentation is also kind of interesting. A lot of the notation you use isn’t usually found in modern string Orchestra stuff for example like those repetition things that you put into the following measure in a lot of octave lines that’s usually used only for piano stuff. Also, some of the stuff that you may have presented may be difficult for some string players along with some double stops you have presented Your score average is 7.45 Like always keep up the good work MelodiesThemes Motives Harmony Chords Textures Form Development Structure Time Originality Creativity Score Presentation Instrumentation Orchestration Playability Execution of Given Challenge Taste 8.7 9 8.5 7.9 6.5 6.8 5 7.2

Thank you for taking a listen, Luis, and I'm particularly glad to hear that you enjoyed the piano! I'm not a pianist, so I always have concerns when I write a piano part. I sang a concert of German lieder recently with some particularly lovely piano accompaniment, and tried to pick apart what Brahms and Herzogenberg did to make their own piano writing for choral works so successful.

Deadline is soon!

Happy Birthday Julia ....................and what a lovely Birthday Present from Peter.

@PeterthePapercomPoser I must say the love reverb on romance. It reminds of those old pieces you hear, you know. (and you know what I mean). I love the lush chromatic lines in this piece. You definitely have strong writting skills.

Thank you sharing your composition @Martynas123 with us. I have attached a my review of your piece. Quartet review.pdf

Hello, I just looked at your piece “war born”. Just to get the bad news out of the way the score was presented kind of messy with a bunch of overlapping symbols. Honestly, this isn’t a huge problem musically. Anyways, orchestration wise, there was a bunch of very interesting textures and a lot of other cool things happening. One thing I noticed that there was a use of some synthesizer. You may want to turn those down a bit as that they were kind of burying everything underneath them. You can hear this is a very loud piece of music, especially with the distortion that sometimes is achieved with this (my own work “ sonic diarrhea” actually ran into this problem, but this was just because of having the master mixer on max, which could easily be fixed by making it back to normal). Anyways, awesome work well done.

Hello @Martynas123 and welcome to the forum! The piece is nice and made up of cool musical ideas! The only thing is that it basically repeats the same ideas at different pitch levels over and over. Also, peeking at your score, I noticed that the Cello part goes all the way down to an Ab below the staff in bass clef which is impossible without scordatura tuning which is a highly unusual technique of tuning the lowest string lower than usual. Even if you used a scordatura tuning in this piece, the quadruple stop you have at the end of the piece seems impossible with that tuning. Thanks for sharing!

You interestingly shift between galant cliches (i.e. the do-re-mi schema as identified by Gjeridgen) and something more modern. I would be interested to hear about your approach to composition (e.g. your inspiration, conceptual approach) Some constructive feedback: you should try to utilize better sound sets in the MuseScore environment. It sounds like a generic MIDI quality which detracts from listenability At the end of musical phrases, you quite often pause before the next one. You should try to connect phrases with the baseline that will essentially fuse together your ideas. For otherwise they sound detached and this detracts from the overall flow. Try to experiment beyond homophony. You have some conversational exchanges but is limited to static ideas moving in thirds against each other. Thanks for sharing

🔴🎬 ★𝑩𝑰𝑩𝑳𝑰𝑪𝑨𝑳 𝑻𝑯𝑬𝑴𝑬™ | Main Theme + Opening-Closing Credits

Yes, you are correct. This is written for five percussionists and each set up is encompass in a bracket. Some instruments are mounted to racks and or mounted to the mallet percussion instrument. (assuming that there are mounting rails.) and that there are various tables for handheld instruments and other things.

Here is a little work revised from several years ago. It was originally made for wind quintet but much prefer this version. It is meant to be a reflective, wondering work with lots of feigned cadences to create that sense of longing... anticipation for what is to come. Here is the Youtube link. Will also upload the PDF should that be clearer to follow. I do take great care with dynamics but if anyone has any complaints or suggested improvements please let me know. PS - Please feel free to subscribe to my channel! The Shape of Longing.pdf

I finally got around to adding stereo to my program. The results are delightful. Give this one a listen:

Here is my 3 string quartet becouse 1 and 2 didint finished yet so i present you this this is the pdf: String quartet no 4 op 3.pdf this is musescore:musescore mp3 file:String quartet no 4 op 3.mp3

Yes, I have looked at many Schubert songs in 38 years, but not all 600 of course. I write in all sorts of "styles," so I suppose I am but a living ganglion of irreconcilable antagonisms! (W.S. Gilbert, HMS Pinafore)

Another important aspect is the voice leading. Notice how, in Schubert, the accompanying chords move very little. And of course, I would continue to explore those poems....

Obviously, if I were to set a couple more Keats poems, and have say a set of three, I can assure you that the other two songs will not have the same block chord texture!

es, there are plenty of examples. Apart from the dynamics—well, sometimes the software does the best it can—there’s a significant difference. In Schubert, the melody follows its own rhythm, independent of the fixed rhythm of the accompaniment. But anyway, everyone should write however they like.

Schumann - Ich grolle nicht, Op. 48 - 7 (Dietrich Fischer-Dieskau)

Perhaps you haven’t quite understood what I meant. Piano writing is based entirely on vertical chords. That way of using the instrument fails to make the most of its polyphonic possibilities, and is even less appropriate in the Romantic style or any modern derivative of it. Yes, of course there are moments and compositions that use block chords on the piano, but this is for expressive purposes and in other styles (Impressionism, contemporary).

Melodies Themes Motives Harmony Chords Textures Form Development Structure Time Originality Creativity Score Presentation Instrumentation Orchestration Playability Execution of Given Challenge Taste 6.5 6.5 7 7 4 4 6.5 7 Average Score: 6 Review: Melodies/Themes/Motives - The melody is lovely; much of the piece is structured as a melody with accompaniment. Given its length, one would expect a little more development of the motifs so that it doesn’t sound too flat.. Harmony/Chords/Textures - The harmony is beautiful and has a certain modal quality. I would also have expected some kind of modulation or other change, particularly given the repetition of the motif. Form/Development/Structure/Time - The piece appears to be in ABA form. Originality/Creativity - The original touch is choosing the viola as the solo instrument. Score Presentation - The score is confusing due to the constant crossing of voices and the choice of certain clefs for the staves, etc.. Instrumentation/Orchestration/Playability Multiple stop orders are placed without considering whether or not they might actually be executed. It also exceeds the number of instruments that are supposed to be used. Execution of Given Challenge - As for the atmosphere it creates, I think it’s just right, but when it comes to the technical aspects, not so much.. Taste - Nice.