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Thank you so much, my dear friend. I truly appreciate your attention and your appreciation. This sonata is really like a personal thank-you letter to my beloved composer, Mozart. You will certainly find many elements from his sonatas, as you said, and I tried to stay as true to his style as possible. I have a special fondness for the Andante — I believe it’s the most inspired of all the movements, with passages that even I can hardly believe I managed to write, and it feels like the part that carries something of myself.

Hey @Aiwendil! Very nice and idiosyncratic rag! It does sound exactly like a haunted castle. I know that sometimes the titles of rags don't really have any distinguishing similarity to the actual music. But not so with this piece - I could even imagine it being played on the castle's church organ! Never thought that a rag would work well on a church organ. I think it would make it more creepy and characteristic. Regarding any awkward moments, perhaps you thought that measure 60 is too abrupt? To me it sounds find to go from C major back to A minor. For me, the middle section starting at measure 85 is perhaps too long and the retransition back to the main theme is a bit haphazard. Originally in the 1st ending to that section you end on a D minor chord, but the 2nd ending suddenly injects a F7 chord in place of the D minor (and directly after an A7). Perhaps you could make the 2nd ending include two measures instead of just one and replace the C# in the A chord with a C natural to more clearly prepare the listener to the retransition to A minor and recontextualizing that A chord as a pre-dominant (in essence with the same function as the D minor would have had in its place if the destination was A). That's my take on that. Btw - great intro and great conclusion! Definitely a strong piece here. Thanks for sharing!

Hey @Alex Weidmann! Very nice orchestration! About the rubato fermatas: in my experience, the use of the various different fermatas available in Musescore 4 have had sporadic effects upon the actual tempo at any given time. If you want to guarantee any specific tempo contractions or elongations I think the best way to do that would be with hidden additional tempo markings each beat. That would just be my own personal approach to that. I love this piece. Just fyi I compared your orchestration to this recording I found on YT: Ravel Prelude in A minor I think you did a wonderful job distributing the melody and accompaniment to different instruments and making the somewhat large instrumental forces sound like a chamber ensemble. Great job and thanks for sharing!

Hey @UncleRed99! Nice Brass Quintet! Definitely an ensemble I should write something for in the future considering I played Trumpet and French Horn. I think my favorite measures in this piece are 16 and 44 because in those measures you abandon the chordal approach to the music where it sounds like the music is just an elaborate but slow (I mean a slow harmonic rhythm) chord progression. Overall measures 12 - 16 and 40 - 44 are the most awesome to me, with a unique approach to melody, rhythm and scoring (I especially like how you create a natural delay effect where the 2nd Trumpet imitates the 1st at a delay of a 16th note. Where there's room for improvement is something I already touched on above: the harmonic rhythm seems like it's usually one or two chords per measure. You don't necessarily need more chords or anything, just varying the harmonic rhythm to different note values could be enough. And you could also have built some kind of accompanimental ostinato to kind of set down a cool groove underneath the melody to create a banger. I also feel like there isn't really a long leading song-like melody that really sticks in my head that I remember easily after listening to this. I've listened to this piece a few times while writing this review and somehow I still feel this way about it. Perhaps there are what you might consider melodies but they're just not unified enough or self-similar enough to really stick in my head? Or maybe I just have fringe expectations about this? Or perhaps they're interspersed too much with passages that are dominated by too many long notes and chords that don't seem to create a melodic impression for the listener? That's my impression. Thanks for sharing!

Quality dramatic writing. I like the sudden fast thirds in the third movement, really captivating. Some of the more technical passages especially the first movement sound more like Hummel or Clementi at times. Maybe I'm just cynical but you have quite a few passages that are directly modeled from parts of Mozart's sonatas. They are not out of place but it's quite obvious, I'd imagine, to anyone familiar with his sonatas. I like the places where your originality shines the most, I'd point out the harmony progressions and transitions I like.

BTW, Hopkins is my favorite poet, I love Tolkien though his poetry is light verse, and hate Tolstoy! For those who have listened to my Trio for Violin, Clarinet, and Guitar, the opening theme of the first movement is based on the first Hopkins fragment!

Bright Star, Would I Were Stedfast As Thou Art Free Sheet Music by Robert C. Fox for Voice and Piano/Keyboard | Noteflight Three Fragments By Gerard Manley Hopkins-1 Free Sheet Music by Robert C. Fox for Voice and Piano/Keyboard | Noteflight Three Fragments By Gerard Manley Hopkins-2 Free Sheet Music by Robert C. Fox for Voice and Piano/Keyboard | Noteflight Three Fragments By Gerard Manley Hopkins-3 Free Sheet Music by Robert C. Fox for Voice and Piano/Keyboard | Noteflight Princess Mee Free Sheet Music by Robert C. Fox for Voice and Piano/Keyboard | Noteflight Fastitocalon-Tolkien setting Free Sheet Music by Robert C. Fox for Voice and Piano/Keyboard | Noteflight Cat-Tolkien setting Free Sheet Music by Robert C. Fox for Voice and Piano/Keyboard | Noteflight Just some "bits and pieces" I haven't posted yet, though I may have posted Cat somewhere I think. Next entering project is Three Part Songs to Poems by G.M. Hopkins, though to semi-quote the first sentence of Tolstoy's Anna Karenina, "Things are topsy-turvy in my household right now!" 🤯

More than 200 views in less than 24 hours? THANK YOU very much!😃

Why though. It feels very natural to me that ends to A. last 2 chords is V7 and I. The chromatic voice probably confused you because it happens a bit unexpectedly. In general, all the voices — and especially the melody — lead to the tonic. You are the first guy who thought it like this and I don't know why 😊 “In any case, I really appreciate your opinion and thank you for your attention.”

Another ragtime piece from me. This one I'd really love to hear any thoughts on; I'm not really sure about a few passages and transitions and I'm trying to decide whether to revise it. Are there moments that sound awkward (in a bad way) to you?

I mean the very end of Albumblatt 3. I've listened to it a few times now, and every time, that final A flat chord feels like a dominant to me; my ear wants it to resolve to a D flat.

Thank so much for replying back with score. That is truly helpful when it comes feedback. Let me start with positive(s): 1. I love the delicate, simple theme and how it is phrase. It flows rather nicely from measure to the next. Well done. 2. The under laying harmonic language is well done, too. No issue there. Now let us move to areas of improvement: 1. I notice you only have horn in f playing 3 notes! Horns can never do this! There are monophonic instrument. You will need 3 players reading that part then mark it a3. But that is not standard. Your score resembles a small size orchestra. So only one with one player. 🙂 2. This brings me to where can the foreground be placed. Best place: the strings. There are loudest in this group. You can 1st carry the melody. a 3. Background: Use the strings (marked at pizz.) at a mp and match bass left hand of piano sketch. Viola, cello, Bass. 4. Doubling parts: Add Basson to double bass part in part in strings. Second violin can double the first. the upper woods can provide harmonic support with horn player. 🙂

Thank you so much my dear Friend. Schubert and Schumann are the composers who influences me most so Always in my music you can hear them. I'm glad that you like it

So this is the article that basically the entire composer world is talking about right now. Curious to hear everyone's thoughts. https://www.theguardian.com/music/2025/aug/24/composer-john-williams-never-liked-film-music-very-much My own take: I think Williams should remember he resigned from I believe it was the Boston Orchestra in the '80s because they didn't take him seriously since he wrote film music. Then, the orchestra scrambled to convince him to stay. Is he now saying that they were right? Whether we like it or not, music has rarely ever broken through on its own. It almost always requires attachment to some larger cultural vehicle to get noticed. That's why I think that most of what John is saying is simply sour grapes that people don't much care about his concert works. His great film works all stand on their own and orchestras around the world play them because that's what people want to hear. He says "what we think of as this precious great film music is … we’re remembering it in some kind of nostalgic way …" That's true of literally all music ever, regardless of quality. Williams himself has a nostalgia for these classical composers who inspired him in the same way that a boomer will tell you that you should envy them for growing up in the '60s with "the best music", and then play some of the most unlistenable Bob Dylan garbage you've ever heard. There are a lot of bad film scores, sure — but I will argue there has been even more garbage written for the concert hall, especially in the early 20th century. And even romantic era composers considered greats didn't have nonstop bangers all the time. Plenty of times in the music of Holst, Tchaikovsky, etc. you have more atmospheric or mood-building sections and not even every piece Beethoven ever composed was greatly memorable. Further, for as long as music has been around, it has been used to tell stories. This idea that when it is then composed to help tell a visual story, that this somehow renders it innately inferior, is a nonsensical belief. Especially when no one seems to take this position regarding scores that were composed for Opera and Ballet.

No. 3 has a Schumannesque feel ... "Kinderszenen" (Scenes from Childhood), Op. 15 ... It's quite lovely. Mark

Lots of FUN! Mark

Hello again my friends. Here is my piano sonata dedicated to my favourite composer Wolfgang Amadeus Mozart. I tried my best to imitate and capture the style . I hope you appreciate it

Thatguy v2.0 lmao thank you : P as you can see in the other reply I've sent the score as well

@Kvothe first of all, thank you so much! here is the sheet music for the piece, I hope you enjoy reading it : D waltz in f minor op.7- sheet music.pdf

thank you for the reply, and here 😛

Hello my dear friend and thanks for your attention. I'm glad that you like them. About your complaint. Can you specify me the exact bar just to give you my point of view and explain it to you ? Thanks a lot 🙏

It would be helpful to see a score. There's a certain charm to the piece, but also some harmonic awkwardness in places. But for just your seventh composition, it's quite promising!

These are both lovely. I especially like No. 2. No. 3 sounds like it could be a good theme for variations. My only small complaint, and perhaps this is just me, is that to my ear it sounds like we've moved into D flat at the end of the second phrase, and the final A flat chord feels like it wants to resolve to D flat to me.

Lovely! Keep writing, you've got natural talent and cool ideas 🙂 As mentioned, if you use a software that creates a score, post that too! We can help with your writing and analysis more clearly with the orchestration visibly exposed. If not, that's not a worry either, and if you have specific concerns with your music just ask. People here are mostly pretty helpful and responsive. Especially @Henry Ng Tsz Kiu. In fact, he prefers it if you ask him lots of questions, even when he's asleep! Just playing around, welcome!