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Hello everyone, This is a piece I finished in April. I'm looking for general feedback on the overall structure, the melody, and the harmonic progression and of course the notation. Thank you in advance for listening and looking over the score! Best wishes, Laurent Sad-song-MIX-3.mp3 Sad song final.pdf

"A composition of very simple construction, entirely based on modulation. In a sense, it also borders on minimalism, as there is only one main theme."

wonderful feedback! I appreciate the fact you've listened to it multiple times. Thank you for the corrections, I'm going to fix the stems on 51 (and the same thing in the altos in the beginning). I have accepted the parallel octaves, wait until you find all the 5ths in the innervoices. I do agree that the tenor 2s are a little low at times, but I'm not sure if I could do much to fix that at this point. I wrote this with a specific 40 person choir in mind https://open.spotify.com/track/63UKqUzlYZmKgsIu8UEw0F?si=7c7f696d83dd4501. I understand the range of sopranos is a little crazy, but I don't intend all the sopranos to sing every note. Especially on their low notes, I kept the sopranos in on measure 14, I felt as though the sopranos should know that the [e] on pickup to 15 is not an entrance, but the continuation of the phrase. I don't even care if the sopranos sing the low notes, but I do care that they not "come in". I'm not sure how else I could make this clarification without it becoming an unnecessary burden to the eyes. For the low bass low notes, that is my voice part so I felt comfortable with what I wrote. I do sort of wonder if m. 6 will work out how it sounds right now, since it is not a very harmonically anchored chord. I can see how the 3 way split could be overkill, I think that last chord could be a little more balanced, especially with the tenors and sopranos being tutti while the basses and altos are divsi.

Hello and nice to meet you, Mr. DarwinNE! I'm glad you are here. I wanted to comment on this piece of yours, but I have had something to do so far. My first impression is that the melody starting around 1:25 is so beautiful. Catchy, heartfelt music and I felt what you want to express, your musical vibe. Some mixing points caught my attention - about clarity: I think you've already gotten familiar with it, you know, like Parallax Audio's Virtual Sound Stage — you might be able to adjust it in more detail. However, overall, it sounds great so, no problem. I'm looking forward to you dropping what you wrote recently. Also, looking at your profile and notes, you make electronic stuff, right? Please post it too - in this forum, electronic stuff is usually quiet, haha. Thank you for coming here - let's enjoy YC together :) Best, Lithl.

I listened a few times to this piece and I like it. I for instance really appreciate the planing harmonies constructed by the voices. I love the structure of the piece with the charming central section. If you are planning to have it sung by a real choir, I have a few doubts about the choice of vocal ranges. You are asking your sopranos to reach a low A in bar 14 and to reach a high B in bars 45-46, that is an extension over two octaves. While there are certainly sopranos comfortable with a high B natural, they may not be very happy (or expressive) while singing in the very low register two octaves lower, even if doubled by the altos. The tenors, even when divided, often sing in a medium register, more fit to baritones (especially T2). Especially in the more expressive parts of the piece, you may ask T1 to sing higher for a longer moment and reach a high G# that remains comfortable and sure and keep the T2 in the register that you are currently using for T1. Beware of the deep registers for the basses that may sound cavernous and give results that are not what I think you would expect. If you are not lucky, a low E may not sound tender and elegantly controlled, as required by the piece. Concerning the writing style, for instance in bar 51 the following bars, how is the divisi expected to work with T1/T2? If the quarter notes have to be sung by both tenors, I would put a second stem oriented downwards. I spotted a few parallel octaves between the parts, such as in bar 13 between the S/A (that are singing together given the very low register of the S) and the B1. If it is intentional I am not shocked by it 😊 I wonder if the triple divisi in the basses is really required for the last note.

The first time I feel like your account is spamming!! Like the video anyways and it’s good to revisit them. Henry

I just published a YouTube video featuring this piece! Check it out if you have ~9 minutes!

I just published a YouTube video featuring this piece! Check it out if you have ~9 minutes!

I just published a YouTube video featuring this piece! Check it out if you have ~9 minutes!

I just published a YouTube video featuring this piece! Check it out if you have ~9 minutes!

I will look at it

Hello, I love Chopin's preludes, they are so great from a compositional perspective. Yours sounds nice. Perhaps there is still more to be written - just a rough sketch for now? More of a matter of subjective taste - I would have personally kept it non - minor a bit longer at measure 14 before going into your next idea. When you change the repeating note at measure 25, it feels a bit abrupt to me. For some reason, the G nat really sticks out. I don't know. A matter of personal taste again. Bar 52 feels very satisfying. I will share a video of someone else who has been inspired by chopin's rain drop prelude. Hayato Sumino - Raindrop Postlude

With the third movement, and I think the fourth movement there is some issues with the viola’s going out of range. Their lowest note is a C you have stuff going down to a B you could probably get that with the cellos.

I'd like to share this untitled piece I'm writing (I might be finished with it for now but idk). It's like my 5-6th piano piece and is heavily inspired by Chopin's Raindrop Prelude, as I'm learning that piece right now (I tend to find that pieces I write sometimes have an element of a piece I'm learning at the time, like Bach Sonatina/Handel Passicaglia, Chopin Waltz in Am, but of course I haven't shared the pieces that contain these inspirations because this is my second forum post ever). It has no form whatsoever, key signature makes no sense yet, and frankly I just went with whatever I thought sounded good. Feedback is appreciated! raindropinspired.mp3raindropinspired.pdf

Overall I really like the Hollow Knight game soundtracks, and the Celeste one as well (specifically "Resurrections"). Probably my favorite one is "Pale Court" from Hollow Knight: Gods and Nightmares (DLC). https://www.youtube.com/watch?v=LCYP9L2FfQg Minecraft is also really good.

OutRun 2006 - Splash Wave:

@Wieland Handke Thank you for the very in depth response! I actually did not know about this complimentary rhythm thing but I think it was something I was doing instinctively. For some reason I was actually avoiding it somewhat. I think I was trying to give the music room to breathe or something. And I think I might have focused too much on each line being independent and having a very coherent melody when played just by itself. At first your modifications sounded awkward to me of course I am used to my own version but after a few listens they do make a lot of sense.

Great piece! I like a lot the phrasing and the interpretation. Some passages made me think of some pieces of Cécile Chaminade (Automne, for instance). After listening to it twice, I felt there may be a moment towards the central section of the piece where it was going a little too long. However, I agree with @Grant Weep analysis: the piece is emotional and it needs time to develop. Looking at the score in the video, I noticed something that I also experience with many similar videos. I usually read a little ahead of the music, so I often find that the score moves to the next line or page too late for me. I don't know whether there is an optimal solution to this, since the best moment to turn the page depends on how far ahead the reader is following the score. However, I think this may make the experience somewhat a little frustrating for more experienced musicians.

Yes

Hi to all, it's my first post in this forum. I would like to show you Varenna Suite, a piece I wrote a few years ago. I wrote a text adventure game called Silk Dust running on many 8 and 16-bit machines and I wanted to provide not really a soundtrack that would be synchronized with it, but a series of pieces that would help set the mood. Imagine playing Silk Dust on a Sinclair ZX Spectrum or a Commodore 64 and listening to the music from a cassette player 🙃 Varenna Suite was composed by stitching together the themes that I wrote for certain parts of the game that took place in Varenna, on the shore of the Como lake, in Italy. Hence the different themes present in the suite. I used Logic Pro and the orchestral sounds are the Spitfire Audio's BBC Symphony Orchestra Discover. I also prepared the score, although looking at it again now, I have noticed a few minor typos. I write electronic and orchestral music, so any feedback would be greatly appreciated. 1 - Varenna Suite.mp3 Varenna Suite Full Score.pdf

I really like how the piece patiently unfolds it's texture and content without trying force it's melody out so strikingly against the accompaniment, rather they compliment one another to create that moodiness, the erraticness sounds natural rather than abrupt... The continous motions of the accompaniment make the pauses in the ending measure and the ending feel well-earned rather than just reached.

When you said You mean when you first sight read the piece you already try to incorporate as many details as possible all while figuring out the notes and playing as closely to the intended tempo?... that's really challenging haha

Barcarolle Music by A. Khomenko Lyrics by V. Osadchenko For voice and piano Slantwise across the slowly moving stream, in which the slow sky melts and slips away, an empty little boat, soundless, makes its way toward the Christmas star’s flickering gleam. The water’s dark, made thick by winter’s chill, and the light wake cannot hold on the glass, as if in a black draft notebook words pass into the page’s depths and vanish still. Above December the water closes tight, and a star falls into the shivering void. Through the cold darkness, here, arrives its light unbearably late, yet all the same it’s faster than never. V. Osadchenko. English translation by Claude.

Hi there, in the opening I got this Scott Joplin feel and I became quite invested; however, that initial feel was lost as the material quickly progressed. I didn't feel/experience a particular direction in the piece either harmonically or thematically. It just seemed to wander. I would reexamine the opening theme and attempt to develop it further. Mark

These days are great in that I can see such nice collaborations like Henry & Vasilis, plus the Peter & Maharani pair! 😊 Peter, these pieces were good to hear. This kind of solo melody music is somehow difficult and you made nice pieces. I love your reverb version and, of course, Maharani's one. I think I like "Sonata" - this is a good opening for starting listening to these. Thank you for sharing. By the way, I've never listened to horn solo pieces. I know solo trumpet, saxophone - jazz sometimes does that but are there any solo horn pieces like that? I don't know. As for solo music, I love Paganini Violin Sonatas, not horn, though. That's awesome, isn't it? Anyway, nice job, both of you! I enjoyed it :) Hello Alexx, you can see Peter's horn in this topic, haha. For your reference! Best, Lithl.