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If you limit yourself to one style, you might restrict yourself, and make it harder for modern audiences to enjoy your work. The modern audience today still attends orchestral concerts. But the programs that orchestras schedule are mix from classical, romantic, and 20th century composers...and some times music from other media.

I’ve listened to two of them; I’ll listen to the others later. The one in C strikes me as almost perfect. It’s harmonious and has that lullaby feel to it. I just think the two-part section from bar 23 onwards has a sequence of parallel fourths that I’m not entirely keen on. I think what you’re trying to do is complete the chord. The other one sounds less like a lullaby, but I think it suffers from something similar. At certain cadential points, there are successive fourths (doubled, at that) which don’t quite sit right with me in this sort of piece. The thing is, in something so delicate, with such pure lines and drawing on the legacy of counterpoint, all this stands out a bit.

Hi everyone! This small collection of pieces I wrote that explores the concept of the lullaby from different perspectives: -The first piece uses more active and independent voices while still preserving the gentle character of a lullaby. -The second takes a more traditional approach, focusing on simplicity and a singable melody. -The third explores a more dreamy and suspended atmosphere, aiming to capture the feeling of drifting into sleep. -The fourth takes a darker direction, attempting to evoke sadness and longing through a slow, hypnotic atmosphere. Timestamps: 00:00 Lullaby I 01:05 Lullaby II 01:55 Lullaby III 03:30 The Last Lullaby YouTube link Score Once again I would like to thank you for giving me your time and valuable feedback that keeps me going and improving everyday! I couldn't be happier that I discovered this forum! Lullaby G Major.mp3 Lullaby in F Major.mp3 Lullaby in F Minor.mp3 Lullaby C Major.mp3 Lullaby C Major.pdf Lullaby G Major.pdf Lullaby in F Major.pdf Lullaby in F Minor.pdf

🎷 𝑯𝑨𝑷𝑷𝒀 𝑯𝑶𝑼𝑹 𝑨𝑻 𝑩𝑨𝑹 𝑱𝑨𝒁𝒁 HAPPY HOUR AT BAR JAZZ.mp3 HAPPY HOUR AT BAR JAZZ by Mavell.pdf HAPPY HOUR AT BAR JAZZ.mid

I completely agree with this. The thing is, when you’re learning, I think it’s good to explore and delve into a wide range of styles, given that we now have the resources to do so. Of course, it’s a process that, depending on each person’s circumstances, may never end. I think the level of commitment plays a big part here. A professional composer is not in the same boat as people who compose as a hobby (and do so whenever they can). Honestly, as I’m in that second group, I don’t think I’ll ever have time in my life to define a narrow circle of influence. That doesn’t mean, however, that when I set out to write something, I do so within a framework I’ve defined beforehand.

That’s true. Although I’m not sure what implications there are in music being a form of communication. I believe that music is, if anything, a metaphorical language. But the meaning of what it might convey is highly subjective. I certainly don’t believe that innovation has to come through new sounds or things like that. The expansion of the expressive techniques of many instruments has already been fully explored. I was referring more to innovation in terms of style, defined as the set of visual, technical and formal features that characterise a work, an artist or an entire artistic movement. And it is far more difficult to create a new language. As such, I believe there have been very few: modal music centred on a single note, tonal music centred on the triad, and, shall we say, the liberation from that centre in its many expressions. But who knows.

Which also raises the question: does the very idea of "musical innovation" have real significance in a world defined a pluralism of musical styles and languages? Many narratives of musical innovation imply not only a linear and one-sided view of history, but also that technique is somehow autonomous from the composers who utilized them. But especially with the rise of AI-generated content, I think it's the human element that remains most important. I tend to think that questions of technical innovation are secondary to the fact that music is essentially a form of communication and dialogue between PERSONS. That's where its real power lies--not as the craft of constructing progressively more advanced sonic artifacts.

I personally think in developing a personal language, composers need to strike a balance between indiscriminate absorption of everything they find, and limiting themselves to an overly narrow range of influences. I know the process varies from composer to composer, but I think it's important to find that balance. It's different today, where we have more control into what feeds our composer's mind--we kind of need to carve a personal ecosystem out of today's chaotic musical world. I've found it helpful to have a diverse cluster of a few core influences as a reference point (Sibelius, Messiaen, Britten), and then kind of expanding outside that. Polystylism is a fascinating approach, though it's not one that works well for my own process. If I composed in whatever style interested me at the moment, I don't think I would find the motivation to complete any full pieces. Again, it really depends on the composer, but as for me, my music is usually an expression of a philosophical vision, or a way of life. I can't really separate the styles and systems from the musical vision that bred them.

That’s great progress – keep it up!

Kyle , i think it depends on the judges " AGE-GROUP "............... so if there on the very edge of " Checking-Out " then they will "Expect" you to conform to "their " ideal, where as a Younger group of judges will want to be "Refreshed"

"Meandering Up and down".......................... that made me laugh out loud , or should i say LOL ?

LoL .. I really don't know and can't say. The judges at these things could be much stricter than our community here on Young Composers. Your rhythms - you have a characteristic way of meandering up and down and you can't resist the inclusion of occasional triplets LoL

With that being said, do you think I might have a shot at being the chosen work? 😅 I've only ever submitted work to 2 other calls before. This will make 4 now, once I submit this, after its completion... I'd also like to ask; what about my work makes it recognizable as "oh, yeah that's UncleRed's work, right there"? lol

The problem i have with that Composition-Video above is : .............................. i cant SEE or HEAR the CHORUS I cant detect where it "starts and where it ends" ............. i suspect the "Man on the street" wouldn't know either . Time is money.. so these HUGE gaps in the composition , make absolutely no sense whatsoever . just my opinion you don't have to agree with it.

Kyle, i think you've stepped out of your "Comfort-Zone" to explore the rest of the orchestra I see images with this track, that go further than the one "Theme-Category" personally i have to have a picture or film, in front of me , before i can start anything. The orchestra has a lot of different players, playing different instruments. Example : Breakfast - Lunch - Dinner - | " what do want today for your : Breakfast - Lunch - Dinner " ? chips-chips-chips .........................i want the orchestra to play | violins-violins-violins so the rest of the orchestra that doesn't play violins are .......REDUNDANT .......There just sitting there doing Nothing. so its so refreshing to hear you use The rest of the orchestra...... be nice to NAME the instruments your using in your productions.

My composition tutor has advised me that Eb minor is not a problem for professional or semi-professional orchestras. So I don't think you need to worry about the key.

Brilliant orchestration Luis! I especially like the combination of brass with harp glissandi on the final chord. (Might steal that idea myself!) I don't remember seeing all four horns combined onto one staff before. Is that common practice?

Hi @UncleRed99 ! I think it's a very nice and sonically pleasing work! The inclusion of Taps in the piece (albeit with liberal artistic license) enriches the message of the piece being a dedication to those who died on D-Day (probably the most gruesome and intense engagement in WWII). I think I could compare you to Brahms in a way, because Brahms in his harmonic structuring of his pieces was so dependent on 3rds and 6ths (something he also had in common with Percy Grainger). Your music on the other hand is very suspension-heavy, constantly creating those major and minor 2nds that rub and resolve pleasantly to major or minor sonorities. I think you should be weary of this however, since this style of writing for brass is very common in the DCI (Drum Corps International) universe and doesn't win you points for originality, creativity or style. Although I would argue that you do have a certain personal style that is recognizable. Thanks for sharing!

Possibly, yes. :) @interlect Ava Part writing does have melody and harmony. Arvo understanding of counterpoint is amazing.

Personally , if i cant DETECT the Melody & chords, then im totally lost......... most classical music appears to be devoid of both. except the Famous well known trax you hear on the radio, they do have both. AMAZING GRACE piano and orchestra.mp3

I was thinking of pieces like this one by Pärt

✈️🎬★ 𝗗𝗘𝗦𝗧𝗜𝗡𝗔𝗧𝗜𝗢𝗡 𝗕𝗘𝗥𝗠𝗨𝗗𝗔™ | 𝗠𝗮𝗶𝗻 𝗧𝗶𝘁𝗹𝗲 𝗧𝗵𝗲𝗺𝗲© : 𝗢𝗽𝗲𝗻𝗶𝗻𝗴 𝗖𝗹𝗼𝘀𝗶𝗻𝗴 𝗖𝗿𝗲𝗱𝗶𝘁𝘀 DESTINATION BERMUDA 2.mid DB.pdf

. with me changes, I usually have those as suggestions the ensembles I have been with useing mallet instruments we had mallet bags which allowed us to drop stuff in and quickly pull stuff out With the octaves, I think that’s just purely for texture reasons sometimes I’ll have a single player use an octave grip with runs sometimes

Many thanks for those tips Mark. I will move the oboe part in Bar 6 to the clarinet. In Bar 16 I've already eliminated the oboe and replaced with flute (see amended version directly above your post). Alex.