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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.

Very much a night and day difference! Just be careful of a low flute or low oboe for too long as their tessituras change very distinctly. Flutes playing low = Whispery or "airy" sound and does not project well Oboes playing low = 'Goose' Honk. They sound a little comical. The only spot I saw this was measure 12, so it's not an issue unless you prolong that registration for too long. Good work!!

@TristanTheTristan and @MK_Piano , Here is an updated version of the wood wind quintet arrangement. Humoreske in B minor.mp3 Max Reger.pdf

Good Evening everyone I’m starting a new project for string quintet and wanted to make a thread here to document the process, post updates, and hopefully get feedback as the piece develops. Right now, the work is planned in three parts. The first section will be an Andante. I want it to begin with a gentle, lilting 6/8 character — soft and flowing, but with an undercurrent of drama beneath it. From there, it will gradually transitions into something much more chordal and chorale-like, with a warm, hymnal texture that I’ve been wanting to explore for a while (hymnal style in 6/4 timing - with a melody that is more free-flowing in terms of rhythm). I would love to modulate to Db major here and restate part of the hymn theme, but we shall see. The second section will move into an *Allegro*, with a more energetic and animated character to contrast the openness and lyricism of the opening. At the moment, what I mainly have written out is the melodic material that will shape a good portion of the Andante. I already have a pretty strong sense of the harmonic language I want — rich, lush string writing with a soft overall atmosphere, while still keeping the fullness and warmth that I love writing into chamber textures. I’ll be posting sketches, revisions, and progress updates here as I continue working, and I’d really appreciate any thoughts or feedback along the way. Looking forward to sharing more soon. String Quintet in F#m.pdf

I purchased the Pro version and I am not happy with the way it performs. I work with SATB choir music with piano accompaniment. Some times with solo lines in it. I have been able to insert notes on the staffs and manipulate the lyrics, but after a few fixes, the computer locks up and goes into an endless loop and I have to restart the computer, loosing any changes I have made. I have been working on a 9 page piece for over a week and I am still on page one. If anyone has had the same issues and has found a work around, please let me know.\ Thanks

Thanks! You have a good point about the repeats. All those repeats are standard for the scherzo form, but I think probably taking out the one at 127 would improve the piece. Maybe also the repeat of the second half of the scherzo.

🎬 ★𝑴𝑬𝑻𝑬𝑶𝑹™ | Main Theme + Opening-Closing Credits + Atonality-Cluster SPACE METEOR.pdf SPACE OUTRO.pdf SPACE METEOR.mid SPACE OUTRO.mid

Hi @Aiwendil ! I think this is a great and playful scherzo! I don't find the evaded cadences at the end of each section objectionable. The only thing that bothers me is that perhaps, the piece loses some momentum with so many repeats and pauses and stuff. Like, specifically the repeat in measure 127 could be jettisoned imo and the piece would be better for it. Perhaps you could get rid of some other repeats as well to improve the flow of the piece but that particular one made the piece really drag in my listening experience. Thanks for sharing and I'm stoked to hear the whole piano trio!

Thanks!

Bright Star, Would I Were Stedfast As Thou Art Free Sheet Music by Robert C. Fox for Voice and Piano/Keyboard | Noteflight Any suggestions for a song cycle? SHORT Keats poems, no operas here!

Hi, everyone. I was wondering if anyone would mind listening to this movement from a piano trio I'm currently writing. I'd appreciate any feedback, but in particular I'd like to know whether you feel that I've gone too far with the repeatedly evaded cadence at the end of each scherzo section. Thanks! Piano trio - scherzo.mp3 Piano trio - scherzo.pdf