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Well, this is a nice piece! Not my usual cup of tea, but I like it anyway. Are you Asian? Don't mean to be racial; we are all human! Just sounds that way, pentatonic. Orchestration very good.

Well, that sounds like Dietrich Fischer-Dieskau; a German singing in French. I'm sure he had some French, probably more than me, mon tres cher ami! Of course, the pronunciation is correct: He was a musician, after all!😆

I only listened to so far the first few measures of each, and all I can say so far is that both will be competent compositions! I can look at a score even without trying to hear it in my head and tell just by the layout if the counterpoint, part writing is correct, after 38 years of writing music. This is no criticism of you by any means, but the unnatural exaggeration of dynamics in music software programs is one of the reasons that while my paper manuscripts have dynamics, expression marks, and bowings for string instruments, etc, I never mess with these when I enter music into my site, Noteflight. I will revisit these, my interest is perked. You are obviously trained.

The low A is not present on the Oboe .... You can score it for Oboe D'Amore which has a low A in the scale or as been said English Horn. Maark

You could try musescore. It allows you to write 'interpretations' by hiding notes. You could also have it really plain by not adding anything. Controls are all simple. It is also completely free. The layout could be changed. Sadly, It is laggy when you write over 500 bars for me.

Thank you! It does!

The string pizz. reminded me of this. It's kind of unrelated, but you might dig it if I haven't already shown it to you lol https://www.youtube.com/watch?v=1dPpbYlW0pQ&list=PL1649A3A736810FFC&index=4 This is really cool, I think the instrumentation is wise as well. It doesn't have the sense of wonder like the Donkey Kong music, it's more foreboding to me. Maybe like exploring the wreckage of a sunken ship, or scanning for alien-like creatures at the depths of the ocean floor. Very mysterious and tranquil, but still the sense of danger. I think the lumatone gets a bit repetitive, maybe it's just me? I suppose some spots you could crank the dynamics way down, or break up the flow of it during one of the string parts. I'm just imagining it being looped, but if it's background enough I think it works. The part itself IS very cool, it really works with the microtonal writing. Idiomatic and picturesque. Just initial impressions! I'm still not convinced of microtonal music, but I admire your journey and like your writing style with it. 🙂

Wanting to create a washy-choral sounding prelude for the ensemble to play before my Oboe comes in... I have Fm/Ab - Dbm6/Ab- Abmaj7 - Cm7-Fm9 - any ideas to keep this sound going?

I am so pleased you enjoyed the work!!!! I'll correct the oversight .................. Mark

Any tips or suggestions?

feels better well written, and is faster paced, I just like fast paced songs, I also like how it's kind of more dark? I don't really know how to explain, also, if any of this doesn't make sense, It's probably because I haven't listened to it for a day.

Can you write why? Anyways, thank you for the feedback! (I am not saying I like the first better, it is just that I want to improve.)

Ahhh ok, so leave it and have it stay as 14 I'll need to do some research on concerto structure and what is technically challenging for the obo so that I don't make this too easy to play or boring

The piece that got me back into writing music, this past December...

Yeah - a pick-up and an anacrusis are just different names for the same thing. If you made that first F an anacrusis then your phrase would be 13 measures long though.

Oh okay, now I understand - brain fart moment lol The F is the beginning of the melodic material, but since I have two empty beats before that, I can fill up that space. Couldn't I also just get rid of the rests and make that measure an anacrusis? --> was thinking of having some strings and F. Horn play a countermelody + harmony as the theme comes in. I've never even attempted writing a counter melody before, so that should be fun.

The phrase starts before the melody comes in so the beginning of the phrase is just the beginning of your first bar rather than starting the phrase on bar 2 as if the F in bar 1 was a pick-up. So the phrase might start with some kind of accompanimental pattern with the first two beats being a space in which melodically nothing happens (until the F comes in).

Hmmm, so how do I treat it as an "acephalic" vs a regular/other phrase type @PeterthePapercomPoser? Just wanting some more clarification

Cool! Someone else likes to compose/arrange guitar music!

It's neither good nor bad - or at least it depends on what you want to do with it. It's just a characteristic.

You're the composer, so only you can make that decision. Certainly it can be more virtuosic than what you have! I mean I at least assume that the bassoonist can play some scales in an easy enough key. You can still fit a lot of music into 5 minutes if the tempo is fast enough. Check out this winning Bassoon Concerto that a member here submitted for a competition in the summer of 2020 when I first signed up for YC!

I'll get the second one in pretty soon. I am a bit drunk on beer right now, and can technically compose or enter notes when drunk, but functionally cannot enter notes when drunk! Go figure... Anyone interested: I actually remembered to put in composition dates on these three partsongs! They are of course partsongs, so the alto and tenor voices are not so interesting. The Windhover, 4-29-21. Binsey Poplars 3-20-21, Spring 5-02-21. You will have to wait for the second two: TOO MUCH BEER! 😋

Hello dear fellow composers. This poem (1886) is part of Laforgue’s Imitation of Our Lady the Moon. Here the Moon is no longer a muse or confidante, but becomes the star of farewell and forgetting, sealing human hopes in silence and nothingness. I truly believe that this cycle reflects a part of Laforgue’s own biography — that of a young poet caught in an impossible, broken love story, one almost erased from history, save perhaps for the initial of a name glimpsed in his correspondence. At least, that is the conviction I had while reading these poems. And so here is the end of my cycle: a piece deliberately sparse, rarefied, silent. It is also, perhaps, a farewell to Laforgue — for now. Time has come for me to explore new paths (and I have been kindly reminded more than once that I am probably composing with a delay of about 120 years…). I can only hope that these pieces may nevertheless have found some resonance with you. This is one of my most sincere works, born from a curious overlapping of states of mind with Laforgue. And I believe — to confess under the cover of anonymity — that one is never truly safe from falling secretly in love, even at my age. Perhaps this is what makes the kinship so troubling.