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Thank you very much, my friend. I’m glad you enjoyed it and appreciated it. Beethoven’s autographs, and especially his sketchbooks, always fill me with awe. They reveal just what an extraordinary composer he was. For me, studying his sketches is one of the most fascinating experiences, even though most of the time I don’t really understand what I’m looking at 😅. Still, being able to witness his creative process unfolding on the page is something truly unique.

I always feel smarter after I listen to your pieces, like I've learned something, or just feel inspired. What a gift! A prelude with all sorts of "gem" moments, some rather subtle. Measure 4 beats 3 and 4 are smooth as butter (props to Henry, of course). Ms. 14 2nd and 3rd beat are so clever. And it's so weird to hear a contrapuntal-heavy piece sound so ... homey and warmly nostalgic. The vibes are right. Thank you for sharing!

I like the sparse atmosphere, and I think you developed the material in a creative way on the 4th page, cranking up the dissonance a bit. This has an exotic flair to it. It's got a chill vibe, but a potent flavor. Cool! Thanks for sharing!

I think you have a lot of natural talent and creativity. Attending a class for something is nice, and can be really helpful, but there's really no substitute for just doing something and seeing and hearing for yourself what works, and what doesn't. Listening to and analyzing what other composers have done is an incredible education in and of itself. It's impressive that you wrote this in such a playable and natural way! I hope you hold on to this colorful whimsy, too. Thanks for sharing! This was a lot of fun to listen to.

Just a little update on reviewers and their reviews: @TristanTheTristan you've done 6 reviews - you need 2 more to get the Welterweight Reviewer badge, otherwise you will be a Featherweight Reviewer @ferrum.wav you've also done 6 and need 2 more for Welterweight @HoYin Cheung you've done 5 and need 3 more for Welterweight @Fruit hunter you've done 7 and need 1 more for Welterweight @UncleRed99 you've done 4 and qualify for Featherweight Reviewer

I love this, particularly since I'm a sucker for heavy reverb, The harmonies are quirky, in a good way. The only thing that really sticks out to me is specifically ms. 10. I'm craving some kind of descending bass there, to offset the parallel motion, especially since that mirrors mss. 33-34. Maybe L.H. E-Eb-D-C#, and last chord is A/C#? Keeps the chromatic flavor. Just a thought. Thanks for sharing this, this is really lovely.

This is a project I have slowly worked on for about a year. Thoughts/comments/criticisms welcome. (The scores are messy at many parts, I will clean it up later!) Prelude No 1.mp3Prelude No 2.mp3Prelude No 3.mp3Prelude No 4.mp3Prelude No 5.mp3Prelude No 6.mp3Prelude No 7.mp3Prelude No 8.mp3Prelude No 9.mp3Prelude No 10.mp3 Prelude No. 1.pdf Prelude No. 2.pdf Prelude No. 3.pdf Prelude No. 4.pdf Prelude No. 5.pdf Prelude No. 6.pdf Prelude No. 7.pdf Prelude No. 8.pdf Prelude No. 9.pdf Prelude No. 10.pdf

hey this is pretty great! I've never really had concrete composition classes, so I can't give any specific tips but I do play a bit of piano and enjoyed this quite a bit. Keep up the good work and thanks for sharing your creativity!

MelodiesThemes Motives Harmony Chords Textures Form Development Structure Time Originality Creativity Score Presentation Instrumentation Orchestration Playability Execution of GivenChallenge Taste 8.7 7 9 9.5 9.8 9.5 10 5.8 Avg.. 8.66 Everything is well, but this wasn’t really my cup of tea, though I can you should really take the taste category with a grain of salt as again, that is very arbitrary Anyways, you did a really good job exploring the wide range of mood and emotion

Title MelodiesThemes Motives Harmony Chords Textures Form Development Structure Time Originality Creativity Score Presentation Instrumentation Orchestration Playability Execution of Given Challenge Taste AVG The Voyage of a Lone Ship 9 9 7.8 9.8 9.5 7.8 4.5 9.6 8.37 Overall, you did a really good job with the piece the one gripe I only have though is just some of the double stops in quadruple stops could be impossible. You did a really good job of storytelling. The reason why i tanked your execution score Just like all the other responses, this exceeds the eight minute maximum however though I must give where credit credit is due as I think that the nine minutes was all enjoyable and wasn’t a huge problem musically This is a good story, but it doesn’t correspond to a specific landscape strongly but anyways good work

thank you so much for your comment!

Alright, thanks for the tips!

This is very awesome to hear! Apologies for not conversing in French, as I’m sure it’d be more comfortable for you. It is my opinion that the idea of a musical is no where to be found in the sample you provided. I think it both safer and easier if you work your way up to it instead. If you have not written for solo instruments or chamber/ small ensembles, then trying to take the complexity of a musical, ballet, or opera is not going to benefit you. It’s similar to this metaphor: If a child just learned to write and comes to you to say, “I want to write a research paper!” You might say “that’s a good goal, but you need to do these steps first.” Those who’ve just taken to a skill and are now striving to do the complex works in that genre will give you great challenge. Regardless of the actual notes on the page in this post, consider starting small and writing simpler works. Simpler works that focus on your use of harmony and melody. Something to do that is exercising your skill without having the brain challenge of a large ensemble. Most western musicals will only have 6-15 musicians in local communities and more often than not, it may be one or two brass players switching instruments. So, try writing a brass trio with Bass-Trombone, French Horn and Trumpet. That way you can expand different octaves and still be in territory you know as a brass player.

Well I've been in music as an art class for almost three years now(I'm at the end of sec 3 now), playing the trombone instrument in band. But this year I was in a special program that where I have music class for about three hours every day, plus lunch practices for and I stay after school for improv. I know most of the basics in music theory, but I learn in french so I cant really give specifics. Still, I know alot let about actualy creating music since we didn't go over it much yet. Just harmonies, tension and release and simple concepts such as those.

Hello and welcome to the forum! Forgive me in this comment as I have made various hypotheses. I believe you are to be a young composer and perhaps a younger musician who only started to take composing seriously within the last year or two. To help us give you the best possible response, can you provide some context of your skill/ training, can you share some of your background? (I.e. how long playing, how long composing, or how much music theory you know?)

This one is heavily inspired by the before last measure from the part of trombone 4 in deception by Jeff Dunn. It literally just a scale, and yet, it sounds glorious. I used a lot of counterpoint by the way. https://flat.io/score/6a09fb380865cfcb541107bb-gg?sharingKey=749ff3c759dbc5511ded9ce50ec84238da744a58322465c354a930a4276e96dd59b809ea3e6a24b8aeeb63805b2e33f6e9dccd3c112b2562e07294b7de53fc80

I'm starting a musical (or trying to) and since my band instrument is the trombone (though I mostly use piano to make melodies) I wrote the parts I have so far for me ad two fellow trombonists. 2 'pieces' so far, only 30 seconds long. Please take a listen any advise would be lovely. I'm to nervous to show my teachers. FlatTrack 1 demo - Sheet music for TromboneMade by referencereverend. Music notation created and shared online with Flat

To answer your question about these techniques Chopping is a percussive technique where you pick up the bow and you near the frog push downward at the string. There should be done with a good amount of pressure, causing a short, percussive chopped sound. The subharmonic is another string technique where you grab a little more pressure than usual on the bow there should be a sweet spot to this. A very good contact point should be a little towards the fingerboard, but the resulting pitch that comes out of this should be an octave below the target note. This is created because that the bow is gripping twice as much times when Bowing, so that heimholtz motion is doubled

i like the usage of chinese instruments here. definitely unique and original. i will choose to not grade the playability since i do not know the intricacies. the score is definitely readable, but it lacks a lot of things (dynamics, articulation, etc.). the resulting look is very bare. i could not hear any memorable/distinct themes/subjects as they are not presented well. sure, there are contrapuntal lines, but they are just that, lines. without noticeable melodies to cling onto, the lines fall flat imo. one can probably notice upon further score inspection (or multiple listens), but i do have to consider the first couple of listening experience as well. furthermore, i couldnt associate the piece with the given pictures, other than it sounds chinese. the piece leans heavily into pentatonic, but there is also no clear harmonic direction. it feels aimless. good contrapuntal writing though! Melodies Themes Motives 2 Harmony Chords Textures 2 Form Development Structure Time 3 Originality Creativity 7 Score Presentation 4 Instrumentation Orchestration Playability N/A Execution of Given Challenge 3 Taste 2 Average Score: π (3.14, not the exact value of the pi decimal preceding it, but still lol)

Hello It’s quite a pleasant piece. But I agree. There’s some technical issue I’m not aware of, but it all sounds very unbalanced. On another note, I don’t know what your background or training is. But I think there are certain pitfalls we all fall into when we’re beginners (and even until we’ve gained enough experience). And that is: we put a large orchestra on paper (or screen) and think that by filling it up as much as possible, we’re orchestrating. But that’s not how it works. I think your first orchestrations should be with small, chamber orchestras.

Good start, idiomatic and the part leading is correct.

thank you so much for your feedback! ill try to implement your suggestions in my next work

Some nice use of extended string techniques here. I've never seen sub-harmonic and chopped directions before. Wonder if you could explain what they mean, and how they're performed?

Hi Sam, The first problem I notice with this, is a technical one. It sounds like you have your master level set too high in the mixer, and it's causing a lot of peak level distortion. There's also quite a lot of octave doubling across the orchestra. This is notorious for causing distortion, because the instrument libraries are artificially adjusted to be perfectly in tune. So you get lots of frequency build up that you wouldn't have in a real orchestra. Some more expensive libraries allow random detuning, which helps circumvent this problem. Octave doubling is something forbidden in strict counterpoint, because it sounds weak. So it's probably best avoided where possible. (I'm being a bit of hypocrite here, because I've made exactly the same mistake in the latest piece I've posted!) Anyway, hope that helps a little. Alex

＝ Lithl - Untitled Track 04 = Feedback is always appreciated, and I respond as soon as I can. Also, I'm sorry that I can't provide the sheet music for this track. I exported it in the evening but didn't save the project file, so I don't have anything left to transcribe it from. Thank you.