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Brother, that's most of us! Don't worry, no one here judges your music based on a Hollywood polished soundtrack, we're all here to learn and get better. People generally ask for a score to better understand your music or ask specific questions, but if you use software that the score isn't a part of the writing process, or you just don't want to share, that's fine. Either way it's all welcome. I'm curious of your writing process. Your language is far different from mine, but I really like a bunch of the ideas. Were you working with themes or motifs? Or was it more an improvised sort of plethora of sounds? With the dissonant language, it can be hard to grasp ahold of the language, but a strong sense of rhythm might benefit well, even if it's just here and there, or a strong feature in a movement. I'm thinking of Beethoven SQ no.14 mov 4 if you're familiar, little rhythmic interjections in a sea of smooth string writing. Just thoughts as I listen. Overall, a wonderful work. As others' mentioned, a score would be great! Otherwise, I love to hear more on the thought process. Thanks for sharing!

I posted a TAB on Ultimate-Guitar.com of this song! Check it out: https://tabs.ultimate-guitar.com/tab/christopher-cross/natures-way-chords-6596852

Y'all are so nice, thank you kindly. Sorry, the Tennessee gets ahold of me sometimes 😁 @Lithl Thanks for sharing some thoughts! I agree, this is definitely a bluesy in a bar feel, perhaps the rhythm could portray a drunken aloofness? You're very kind, but if I come across your new music and it blows me away... well, consider that badge an easy win for team Lithl :) @Seni-G Hey thanks for listening! I did put a lot of time into this one, especially with the flow and form of it. For either of you, I don't think I know your music, so send me something and I'll check it out, or I'll just look out for your name and share some thoughts :) P.S. @Henry Ng Tsz Kiu, Please don't remind me I'll never be able to receive the most prestigious award our forum has to give... it pains the most precious recesses in my soul 💋

I definitely don't mind the comparison with your own music either, I actually find it interesting that you've received very similar feedback yourself. It makes me think that this is perhaps less a question of whether this approach is correct or incorrect, and more a question of how much space the listener needs in order to perceive the relationships between the ideas.

Hello, thank you for your detailed and lengthy comment, I really appreciate it. I can certainly see what you mean by the lack of a more obvious “aha” moment or a major change of tempo, mood, or musical language. It is intentional: I tend to think of development less in terms of large contrasting sections and more in terms of gradual transformation, interaction. So there may be development happening, but it is not always presented as a clearly perceptible change of scenery. In other words, my music often flows like water, sometimes swelling, sometimes receding, but never coming to a stop. That is actually very useful feedback for me, because there is a difference between something being internally connected and the listener actually being able to perceive that connection.

Hi all! I recently posted a Rondo, which was actually the third movement of this piano sonata. Here is the full sonata. I know that posting a whole sonata is asking a lot from listeners. Please feel free to listen to only one movement if you like, or the entire thing if you're in the mood to hear the entire arc of it. Whatever works best for you! I appreciate any and all feedback, even if you only listen to a portion. Here is a breakdown of the entire sonata: MOVEMENT 1: The 1st movement is in Sonata Form. Following along with the form may help you wrap your head around the various parts of the movement. The form your road map through the jungle. Section 1 - Exposition (measures 1-128): the piece starts with a main theme in the home key (C# minor), followed by a second main theme (measure 59) in the key of the relative major (E). Though you may hear many ideas that roll out one after another, the form of this first section is grounded by those two main themes. Section 2 - Development (measures 129-243): in this section the two main themes are deconstructed, developed, played around with, and intertwined with other ideas, all flowing together into a mixture, a river that carries the listener along. This section is doesn't stand on solid ground, but instead is ever-shifting. It's goal is motion, development, and play. Section 3 - Recapitulation (measures 244-end): the first main theme returns (244) but is changed now, followed by the second theme (370) which now appears in the home key (it is now minor). MOVEMENT 2: This music is a projection of my mind during the time when my first son was born, a reflection of my complicated emotions, my questions, my fear and love. The music fades in and out of coherency, at times directionless, until it finally lands on solid ground. It’s asking a question, and just as the answer comes within reach, it slips away again. This movement is tough to pin down, difficult to categorize. The music is searching, searching… It emerges slowly, pops in and out of view, like a distant ship in the mist. Sometimes it’s a love song, sometimes a lament, sometimes a hopeful look toward the future, and sometimes a lonely figure grasping for something in the dark. MOVEMENT 3: The 3rd movement is a Rondo, which resembles a club sandwich, where theme 1 is the bread: Theme 1 (measure 5) Theme 2 (41) Theme 1 again (69) Theme 3 (98) Theme 1 once more (195) Each time theme 1 returns, it comes with very slight variations. Since the first movement contains so much development and so any ideas, the third movement keeps the main theme mostly intact throughout. The third movement may be a bit too tightly wound, but I made it that way because the first movement feels a bit like an over-stuffed burrito. Thanks so much for listening! 1. Allegro con brio.mp3 2. Largo (Jack's Song).mp3 3. Rondo.mp3 01 Allegro con brio.pdf 02 Jack's Song.pdf 03 Rondo.pdf

@Vasilis Michael Your performance of this music really sparkles! You have such a nice touch. This is very nice music to play in the morning while taking the first sips of coffee. It’s like it was made to play in the background of quiet kitchen, with the sunlight peeking through the blinds. You obviously have tremendous skill as a composer and pianist. Your music (that I’ve heard so far) is delicate and sweet and sumptuous. Delicious! And yes I think I would love to hear a sonata from you. A sonata is an opportunity to write something that challenges the listener on an intellectual level. It requires that they follow you through your themes and developments, and gives you a chance to paint in many colors, to draw out your ideas and toy with them, to tell a long-form story. I’d love to see what you create in that arena. Very well done, a real joy to listen to.

@Fruit hunter I really enjoyed this work. Variation IV was especially exciting. You do an excellent job of managing the dramatic pacing throughout the piece, with your creative and varied use of rhythm. None of the variations overstay their welcome. They say their piece and allow the next one to take over. Taken as a whole, the piece paints a satisfying dramatic arc. My only concern is the playability of some areas. I would consider asking: is every instance of virtuosity required, or could you convey that same feeling without requiring virtuosity in that instance? I’m not saying it’s unplayable, but only that it looks very difficult, especially when fast passages resolve into thick chords, or when the bass accompaniment requires very fast tempo and precise rhythms. Lowering the virtuosity level (while maintaining the vibe you’re going for) will only increase the number of players who are capable of performing it. Not a requirement, just a consideration, coming from someone who loves to try and play new compositions, but is not himself a virtuoso pianist. But overall excellent work. I’d love to hear this performed live.

Oh! You know, I actually had this similar conversation with yet another inquisitive board member; who too felt that my music could have taken a little more breathing room to develop my themes a little better. My only counter-response here is that I'm really not doing anything in this regard that Stravinsky himself hadn't already done! And, I'm sorry to be clinging to him pathetically as if "Rite" was some be-all-end-all approval post, but it does seem very fitting in this conversation.

I suppose my opinion is somewhat different than Markus Boyd's; which I will get to momentarily. I will say, the very beautiful music that we have going on felt, still, rather "flat" to me. There was little contrast throughout; at least during the first portions of the piece. I get there were moments when the music somewhat rose (achieved through slight crescendos). Otherwise, there was no "aha" moment, where something changed and grabbed my attention. No tempo change, no change in mood. No new visitation to various tonal/post-tonal keys. Nothing stood out to me. After listening to the first two or three minutes of it, I felt like I've heard the entire piece. Once more, it was beautiful music; and I certainly found it a lush relaxer. But, there was nothing "different" from start to end. Perhaps that's the style you were going for. There is absolutely a place in the music world for this kind of musical development; "one idea moving ('hastily') onto the next, without much chance of development". Background music is the primary example that definitely calls for this type of stylistic development. (As a far-branching sidenote (which, to clarify, speaks nothing to Markus Boyd's meaning here), I usually get this^^ feedback as a form of dismissive criticism; by people who superficially look at the music and then don't care to observe the potential deeper web of my"overly complicated" music. Usually, when I "defend" myself to say that my piece does in fact develop with themes that do come back, and that the form is there, I don't hear from them again. Have I proven my point regarding "dismissive"? Now, once more, I'm not saying that Marcus Boyd was being dismissive of Petr Kopuletý at all. In fact, I see the opposite: I appreciate that MB was being curiously inquisitive.) I like to kindly finish that history is on Petr Kopuletý's side on this: people didn't see the development in the "Rite of Spring" either. That famous Bassoon theme? It gets measly developed and revived at best; and then doesn't return at all for the rest of the Ballet Tone Poem. The Stravinsky chord moment? I don't remember hearing it again after that one jarring moment of its appearance. None of his music gets "developed" in the way critiques typically want it to: a theme that comes back and transforms. So, why do we love "Rite of Spring" so much, and why does it keep getting played again and again... and again...?

Yes, but I'm thinking orchestrating it just for orchestration practice

This is for quintet not orchestra, right

Thank you for taking the time to listen to my piece. I would love to hear more of your feedback when you get a chance. Thanks again!

Hello A few weeks ago, I was discussing the characteristic features of the 20th-century neoclassical style. I wrote a short minuet incorporating these features. A playful style, based on the 18th-century minuet dance, with broken accents, clean lines, bitonality, unexpected modulations... MINUETO_luis.mp3 MINUETO_luis.pdf

This was originally called four by a competition on a different discord server a few months back, but I will send this over here to see what other feedback I can get this piece was a team activity as that you had teams throughout three different rounds and this happened to be the first round, but also happened was that all my teammates did not contribute anything so technically, I was the only one to credit myself. Anyways, provided down below is the seiklios epitaph this is a very ancient piece of written music and by scholars was to be thought of the first written piece of music in the first composition the prompt said to write a prelude of five minutes, but given the opportunity, I made it a theme in variations, however, though it could still function as a prelude since prelude really means a opener or something that comes before something else meaning that this would make a great opener for a piano concert or for something to study It turns out I can't really put the image in here without extra work, but the one thing I had realized is that the theme is the first thing to be played quite literally without any variation Variations on an ancient song.mp3 Variations on an ancient song.pdf

Bro you should check out my Paganini Variations seriously. Also I might try 😉.

Thank you so much, my friend, for taking the time to listen to my Sonata and for sharing such beautiful and thoughtful words. I’m truly happy that my music gave you something meaningful and that the Sonata was able to bring you these feelings. That means a lot to me. ❤️

Nostalgia...

Hello Markus, Thanks for sharing! It’s funny how this video also showed up in my feed yesterday! I guess that’s just how the algorithm works. The AI fugue is in fact pretty good—it’s way superior to others I’ve heard concocted by AI. For some reason, AI music fails to interest me, as well as AI literature/poetry. Perhaps that’s because I’m as interested in the human element and how life is translated, through the messiness of the creative process, into art. AI music seems to me like a regression, because it’s distanced another step from human consciousness, from those sacred limitations, needs, and inefficiencies that constitute humanity. So even if AI could create art technically at the level of Beethoven or Bach, I would personally remain unconvinced. It’s kind of like receiving a love letter, and learning that it was written by ChatGPT. It’s so disappointing. It’s just so… shallow. Some things are best left to the humans, regardless of technical capability—that’s just my two cents!

In this video, we explore how to use unison and octave doublings when orchestrating a melody. You will learn how doubling a melody with different orchestral instruments can change its color, strength, character, and expression. We will explore different combinations of strings, woodwinds, and brass, and examine how instruments can be combined in unison and at the octave to create a richer, more powerful, and balanced orchestral sound. Free Download the PDF file: https://asgarzademusicschool.com/blog/orchestration-techniques-unison-and-octave-doublings-of-the-melody

I agree with @Lithl that this is a piece that would really excel if performed in a noisy and crowded bar! It feels improvisational, and yet has very noticeable form. Clearly you put a lot of thought into this. The combo of improvisational sounds mixed with a crisp form and clearly thought-out main theme all combines to make this music really pop! I’m excited to check out the other preludes. Nice work!

That was a refreshing and magical piece. It does have that late baroque feel in its rhythm, but not as much in its harmony. I haven’t done an analysis of it, but just to my ear it has a modern quality. I think you make choices that Scarlatti would not have made harmony wise, and that makes this music sound very fresh, not at all like an impersonation of another composer’s style. This feels less like a sonata and more like a piece that could be part of a suite. Well done!

고난주간을 위한 신성가곡2 for Soprano and Orchrestra 가시관이 깊이 박혀 그의 이마를 뚫고 채찍에 살이 찢겨 뼈가 드러나니 오직 주님 만을 온전히 섬겨 살게 하시옵소서. 못이 손과 발을 뚫어 박히는그아픔 그 창에 찔려 피와 물이 흐르고 질식하며 숨쉬다가 돌아가신 주여 받으신 그 고난 모두 내 죄때문이었네 죄를 반복하지 않고 오직 주만 따르리니. 주의 은혜로 이 죄인을 용서하소서. 내 허물이 주님 등에 채찍질하고 내 죄악이 주님의 손발에 못박았네 고통속에 피 흘리신 주님의 사랑 뼈마디 어긋나는 고통 견디시며 하늘을 우러러 기도하시다 숨거두신... 주여 온몸상하시고 찢기신그모습 무릎꿇고 회개 하오니 죄인 용서하소서 오직 주님만을 온전히 섬겨 살게 하시옵 소서. 주의 은혜로 이 죄인 주꼐 바칩니다. Geistliches Lied II A crown of thorns pierced deep into His brow; The cruel scourge laid bare His flesh and bone. Grant that I may serve You, Lord alone, And live for You alone. The nails that pierced His hands and feet in pain; The spear that brought forth blood and water there. Lord, who breathed Your final breath in anguish, Every grief You bore was mine to bear. No more shall I return to paths of sin; By grace forgive this soul within. My every fault became the cruel lash; My every sin drove nails into Your hands. Yet through Your bleeding love amid such suffering, You bore the pain no heart could understand. With eyes raised up in prayer unto the Father, You gave Your final breath. O Lord, Your wounded, torn, and broken body; On bended knees I now repent and pray. Grant that I may serve You, Lord alone, And walk Your holy way.

Ok, since I did not post very well last time I am re-posting this. I made some changes to the piece and mp3 and am going to post the inspiration for this piece here: This is a piece adapted from my piano composition. I thought it needed more harmonies and motifs. It is inspired by any beloved person who lived a full life and died, and how others reflect on that life, sometimes with complex grief, sometimes with euphoric joy and hope. I picture the intro and coda as the sadness of the death, and the middle section as the whole of their life, mostly the good parts mixed with the bad memories, and the complexities of the grief people feel. Basically, it is the emotions in the life of a person and the emotions the grievers have when reflecting on the life. Woodwind Quartet.mp3 A Life Lived Woodwind Quartet Original Piece.pdf

I’m a big fan of this! You found that blend of dissonance mixed with traditional harmony that really does the trick. I admire your use of rhythm in the melody, and how it works in unison with the harmonic changes. Your piece does not feel like it’s trying too hard to be modern, but instead uses a bit of modern sound to express something poetic, while still maintaining a clean and apparent form. That’s the sweet spot! I would like to see a whole second part added on. The repeat of the waltz is great, but it makes my ear excited for part 2, just as a classical waltz might have part 1 and part 2, both with their own repeat signs. If you can develop these themes into a part 2, I think you’d really have a complete waltz. But even if you don’t, it’s still fine to listen to. Cheers!