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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

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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!

Hello! I have been wanting a libretist to compose my first REAL opera. I only have worked on smaller musical dramas before. I work in the style of the late renaissance up to the early and mid baroque. Do you have any librettos in that style?

Hello, I've found your stuff on youtube before. I enjoyed your music then and I also really enjoyed this piece. When your music ends...there is a sense of longing for a bit more. Personally, I don't get that often from most music... I am someone who listens to some classical music here and there and has some classical training on piano. Enough to appreciate it, but probably not enough to be able to analyze and understand the structures/conventions of the time period. All I can say is that if I listened to your music and listened to some of the greats from Mozart/Beethoven, I really can't tell any different. You could have posted here your piece was a brand new manuscript from the 1800's from a major well known composer and I would have believed it. Your music is really quite something. I wonder if you ever write music in other genres?

Hello, I listened to it twice. When you say corrupted, it made me think of this piece by Denisov: it's pretty long. The first 10 minutes is just Schubert (can you probably skip through it, if you want), but it gets a bit weird, no longer just Schubert, perhaps corrupted at around the 10 min mark and by the end of the song it gets pretty weird before returning to a bit more normal. There are parts of the song where it doesn't really feel like classical music anymore, definitely noticed something off at measure 70. And around measure 105 is when it really becomes noticeable to me. I can recognize a theme that persists throughout, even as you change things up, so that's nice. I think there is some notation issue at measure 84? Not sure 100% about the tied note. The part at measure 50 reminds me a bit of that famous Mozart variation, I think in A major?

🍎 𝐂𝐀𝐍 𝐂𝐀𝐍 | 𝟎𝟎𝟕 𝐒𝐇𝐀𝐊𝐄𝐍 𝐧𝐨𝐭 𝐒𝐓𝐈𝐑𝐑𝐄𝐃 A touch of JAMES BOND...................can you recognize where it Starts ? CAN CAN 007 SHAKEN not STIRRED.mp3 CAN CAN 007 SHAKEN not STIRRED.mid CAN CAN 007 SHAKEN not STIRRED.pdf

duuudee i just read about this on a book as well and i already fumbled on this piece lmao. but yeah, i also agree, the accompaniment patterns are monotonous and definitely one of the primary subjects of revision!!! need some punctuation and need to highlight the peak of phrases more often thanks for the feedbacks @Henry Ng Tsz Kiu !!!!!!!!!!!!!!

@Luis Hernández Thank you for listening! Yes! that was the general idea. I wanted the piece to begin with a clear classical language and gradually become destabilized by something outside of that system. This is reflected mostly in the larger architectural decisions, but also through smaller stylistic choices. It's interesting that you heard the second section as pre-baroque. That wasn't my conscious intention, but I can definitely see why it comes across that way!

A very interesting piece. Although I don’t quite grasp the idea. I’m not sure if you mean that it begins with a movement that sounds very classical and then takes a few twists and turns. The second part seems to take a stylistic step back, as it sounds pre-Baroque with unadorned lines and a modal sound (perhaps Dorian F).

Hi! First of all, before anything else, I want to say how amazing this forum has been for me and how friendly and helpful the community is. This is the only place where I truly feel I'm getting the kind of feedback that helps me grow as a composer. Thank you all for that! Now for the music. I wrote a piece that explores the idea of Classical clarity being gradually corrupted by an unknown force. As the music unfolds, the familiar structure and stability slowly break apart, transforming into something different. There are a lot of little details and ideas I tried to communicate through this piece, and for the last few weeks I don't think I've gone an hour without thinking about it. Naturally, I feel very connected to it, and I'd genuinely love to hear your thoughts and feedback. YouTube link Score Movements: 0:00 Allegretto 1:44 Adagio 3:28 Andantino Corrupted Sonatina.mp3 Corrupted Sonatina.pdf