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Thank you bery much for your and @Kvothe 's help. So you say program deceives a lot? Hm, i suspected from some point (even i rewrote some real composers tuttis to see if this works). Am i wrong or specially in tuttis programs will make a sound a lot different from reality? Horn It's suprising about horn i must mix something from here and here, like: Horns comparing to others brass needs doubling to equalise level of loundess (i may quote a bit wrong this) Question I don' know if it's right place but i'd like to ask a important question. I don't know what to do to write better, i fell like i'm wandering around, or stuck in some kind small stupid box while iknow how much left is to be done. So what i should do? Make slow analisys of great composers, apply them in my scoring? or... i don't know, read and seek for the problems with old pieces? Or maybe just i just simply simply suck writing for piano and any bigger assemble is doomed to fail... Maybe someone has got problem (among my many others) with writing a fast pieces? Others go through this problem too? Any advices? :)

Well, just take writing this as a learning opportunity! No one writes good pieces before they write tons of bad ones. I remember how bad I was when I wrote my first dozen of "pieces" (of shxt). I myself do follow the path of writing a piano solo work, then chamber work, then in the present continuous tense orchestral work, but not everyone needs to follow this route since everyone's learning path is different. I would say @Kvothe 's feedback is a personal one that you may follow or not, but never use it as a reason to forfeit any pieces! Henry

here https://www.noteflight.com/scores/view/8550c85674ba31c3c74ebe1549d462e4b6c4d3b8

@BlackkBeethoven please don't quit writing your piece! Young Composer's Forum should always strive to be a great place for you to receive feedback, guidance and support on any of your musical projects. "Go write a piano piece because you're not ready and need to learn the basics" is not really constructive feedback. Members on YCF should strive to support the composer with whatever project they choose to write, not tell them what to do. We're here to support you in whatever YOU choose to do not what WE think you should do.

Hey everyone, It's been a while. Here's my submission to the Spring competition; overall while composing this I did a lot on like, 5 different days, because I kept forgetting about it and then working on It! the instruments I chose are: Guitar, Piano, Violin, and Cello. I tried to make it (sort of?) Interesting with my Instrument choice which of I forgot to put the 5th one. Its a little short, but It'll do. I mostly did this for fun and have no intent on winning. oh, and also I misspelled the MP3 file. Great. spring competiton.mp3

Well, I'll go ahead and scrap this piece then since I have so much to learn

Now this is topic I was dire to seek! Answer to question one: If there is opportunity to, I will! Question two: The piano Question three: Yes! I want to play through piece I am performing. I do not play other instruments. Ideas usually come to me out of the blue. Tech gear: Noteperfomer 5 with SIbeluis. Musio and Cubase. Now I will probably do massive update once I have new computer. I would love to own more than Musio! I am looking at Spitfire or VSL as a main. Niche: Perfomace samples and Aaron Ventures. Omisphere. I can list others. Dorico for sure! Actual live performances? I do not want to brag...but did anyone see what I posted? blushes (and there could be more)

@BlackkBeethoven: That is great question! Before Bach wrote chamber music, he first went through and reharmonized chorales, wrote solo piano works, and then solo works for strings. In fact, his cello sonata is so well crafted! You have to learn to the basics first: counterpoint, harmony, and musical form. Then apply that! :)

How would a solo piece help me more then writing for strings?

So there are two forms of tutti: full and partial. In your case, you have full tutti. I will provide feedback for it. I will draw from Rimsky, himself! In orchestral full tutti, you have make sure balance the section correctly! If the entire orchestra was marked at soft dynamics, then there would be issue. However, that is not case here! Thus, we must address dynamic balance first. Woods and Strings: Melodic doubling: I feel it would impactful if strings double the melody in octaves! Then have flute and piccolo above that! Rimsky did this. Gustav Holst had an entire section string playing one gesture. it is more impactful! Brass: Here, I agree with @MK_Piano. Horns will pierce through and are over powerd. 1 horn=2 woods! :)

Yes. I am aware. Baby steps: you have to crawl first. A solo piece will help you to learn so much.

Thank you -- I'm working on writing a string quintet so I won't be doing solo piano piece 👍🏾

Hello my friend @MK_Piano This is lovely short sonata for string quartet! You have such lush string writing. :) Here is what stuck out to me the most: 1)The short fugal passage in the first movement. That reminded me of bach's 3 parts. He always would had keen sense of counterpoint. 2)The dovetailing in the second movement! 3) and the pizz by the second violin in the third. (yes, my ears can pick these up!)

I see, that helps a lot! In the orchestration example you provide, there is something lacking in terms of the ensemble tessitura. Tessitura is a complex word, but in simple terms describes the characters/ properties of an instruments range. (I.e Flutes sounds airy/ whispery when played low, Tubas sound rich when played high, etc.) In this context, I am worried about where the notes are placed in the instruments and then comparing that to the harmonic series. If you wanted a full sound from the orchestra, you need to fill out the harmonic series so we hear all the resonances. The computer (MuseScore in this case) is deceiving you because you are hearing a lot of instruments, but if this were played live, it would sound loud, but not as rich/ warm as you want it to. FEEDBACK: Brass - The horns doubling the same pitch will not sound "full" but the same brassy sound louder. Ensemble Tutti - There can be different variants of an ensemble tutti. The most basic being every instrument is playing the exact same line in their registers. However, another implication is that every instrument is playing, albeit, different material. This is more reminiscent to your example and I think it fitting if you have the bass instruments (Contrabasses, Contrabassoons) sustain the pedal/ tonic fundamental. If every line is moving, then it is hard to hear the melodic content you want. Pulsing the harmony and grounding the bass while the melodic line moves will be an effective tool to clearly hear the feature. Timpani - BEWARREEEEE the timpani. While written in bass clef, it is NOT a bass instrument. Remind yourself that the timpani has anywhere between 1-5 drums (5 for professional ensembles and 4 for universal standard) It has a hard time moving stepwise and if you can write leaps or intervals bigger than a 3rd, it will be very easy on the player. They can tune the drum heads live and if you are not too sure if it is playable, ask a timpanist for insight. Also, for a point of the score, make sure your language is standard. You mixed english names and italian names for the instruments. Make it easy on the brain and keep it one or the other lol Attached is a sample orchestration of what I have done with these comments. I changed the harmony a little to make it simpler for example purposes only: (I just realized I missed the Divisi for the Celli.. whoops) Orch.Sample_Audio.mp3 Orchestration Sample.pdf

Update review: This piece has changed since October. The middle section of the dance reminds me of the moonlight sonata by Beethoven. Those 8ths note triplets underneath the cello line is rather nice, haunting nice. I am still in love how playful it sounds. It is not creepy, but it has that graveyard mood. Have you ever since "Disney Halloween" Special? Your piece reminds of that!

So I'll introduce my experience. I am totally self-tudied in music and have been learning for a long time, but anyway: Basics — I think I know enough, although I haven’t really tested myself formally. Voice leading — I’ve read about counterpoint and harmony, but I never studied them in a strict academic way. Some of my voice writing comes from hearing and intuition (“by feel”), though I try to preserve some independence in each voice. Harmony — I understand triads, secondary dominants, modulation, and related concepts well enough, I think. I also read Nikolai Rimsky-Korsakov’s orchestration book, as well as a similar one by my compatriot Marian Cyrus-Sobolewski called Orkiestracja. I can link a video of one of my pieces (with a synchronized score) to show the direction I’m going in and provide more context: https://www.youtube.com/watch?v=GSNKnQD84uU (I wrote this almost year ago, and way i edited this video is bad - lets be honest) Other piece (no score): https://www.youtube.com/watch?v=eAIYVYFgCjw My goal is to write music somewhat in the style of Pyotr Ilyich Tchaikovsky and Maurice Ravel. I also appreciate film music. Yeah, I know those are very different directions and a bit of a weird combination, but somehow that’s where my taste ended up. Just a random amateur, I guess.

UPDATE New Score has been added! I have begun the second installment/ sequel piece to this work and hope to finish it by the end of the summer!

UPDATE New score has been uploaded!

UPDATE New score and audio file have been updated. After speaking to a colleague and mentor, I have received feedback on the string playability and have amended the score. Enjoy!

Welcome to the forum! This is an interesting discussion to open with, and in the best of ways. I feel there can be a lot of answers to this question and most of the comments may be stemmed from an individuals opinions when orchestrating and style. For some context, can you provide a little of your background or theory-level? It will help us give an appropriate answer befitting of your experience.

Hi! I'm trying to write Romantic-inspired pieces, but I struggle with a lot of things. I cannot figure out what it is. I've taken a look at some tuttis in scores (like Tchaikovsky's Piano Concerto No. 1), but I didn't do well. To get a more "classical" vibe, should I reduce the harmony and leave just two voices (melody and bass)? Or should I double more voices in octaves more carefully? I should add that I didn't apply myself too much; maybe I should think harder and not just place random notes on the paper. For simpler reading, I can provide an excerpt of the score (it's very short anyway). playback with musesounds.mp3 score.pdf

Thank you @MK_Piano for you review and your insight, as always! Yes, I can see what you mean! I will keep that mind. :)

Morning @BlackkBeethoven I have looked at your wip, and I have attached the file to help you. StringQuintetinFm_pdf.pdf

Goose Honk ? .................... I luv it ! https://www.myinstants.com/en/instant/goose-honk-44161/

To add, maybe in measure 8, let Clarinet one finish the 16th note gesture with the oboe. Why? Mainly due to the instance a performer may be late when entering and to not break the long gesture of the scale. Have the clarinet finish the gesture into the next downbeat. I am unsure why the horn figure is broken up in measure 9. It makes sense for Horn 1 to go the A natural and jump to C# as an escape tone. (Same in mm.10) Also, make sure the Horn 2 beaming is the same in measure 7. Measure 11 - Lower the bassoon 2 scale down an octave or raise the Low B on measure 12 up. Bassoon fingerings are tough and that jump is agony for a player because of how many fingers they put down and the change in embouchure. So lower it down an octave or make them both land on the same B-natural in mm.12.