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Hi @user011235! You wrote it in 4 days?! That's kind of amazing. Speakng of the music, I for sure like the classical/early romantic style of the music. The modulations are wonderful too. For me maybe you can add much more slurs to both instruments especially the violin, since I think it won't play that much notes without legatos even under styles, especially in expressive spots like b.316! Also, the very high pitched pizzicato, like in b.203, sometimes sounds a bit uneffective for me, as they sounds really spicy and disappears really quickly. Thx for sharing! Henry

Hello, I recently started composing. I have a new hobby, LOL. Maybe you guys would like to leave some feedback on my pieces here, so i can improve on my composing skills. I know very little about music theory in composing. You can view my compositions on my youtube channel, here. Greetings, A malfunctioning harpsichord PS: I know that harpsichord can't staccato, so please don't mention that after you looked at the first composition

Hi @Alex Weidmann! LoL it's no garbage at all, only Filmscore's "improvements" towards other members' work qualify with this word! I think it's a good new music honestly. It will make good background music in a bookstore to me. Does it sound more random than my 3rd Piano Sonata movement, mov 1 or 2 which are famous for their randomness LoL?? Thx for sharing! Henry

Hey Pabio @Fugax Contrapunctus! I can tell this one is an early of yours since there's no adventurous modulation happening in the middle to last sections! Nonetheless I like this one especially after your mitigation, and in my fav. key! Thx for sharing. Henry

Hi @Layne, I have never watched Star Wars but I find your arrangement quite cool, even though I have never heard of the original theme. At least to me much better than the long amiss Filmscore. Henry

Great contrapuntal work! The piece sounds complete, the four voices flow naturally, are easy for the ear to follow, and all are engaging! My only small critiques would be that the four voices might be slightly overused and that a few more silences could make the whole piece feel less dense. Also, I don't think it's necessary to use different types of fermatas in the final measure. Once again, bravo!

A slightly more Romantic-sounding fugue than usual, whose theme's chromatic nature I chose to exploit with a string quartet setup for greater expressive intensity. The subject itself was originally somewhat experimental in nature but quickly developed into a full-fledged exposition, and the rest was hours upon hours of trying to deal with its rather unwieldy nature as best I could. Enjoy! YouTube video link:

Comprendo, perdón por el malentendido. Gracias por todo, Luis.

I enjoyed it. Though I heard a lot of static around 2:30. Was that intentional?

Yet another short canon, this one composed today:

Hey, did you somehow get the MIDI playback to include pronouncing the words? I haven’t heard of a program that does that (Musescore only has “Choir Aahs” or “Choir Oohs”). If so, what program did you use?

This is so wonderful, and I think you composed the joyful/playful sections very well:)

Thank you for listening and the kind words! Yeah I completely agree, I have no idea how the two violin sections ended up being what I needed, but somehow it was... pretty weird indeed :')

Me refiero a que suena como con pequeños portamentos, nada que ver con eso otro.

Another canon:

Thanks for the kind feedback and positive words. More variety was such a frequent advice that I have looked at numerous trio sonatas again to study others' strategies for variety. And there are indeed examples for extremely varied sonatas, but also others where the various movements follow very similar blueprints. But what the composers would do then is make sure that the pieces as a whole differ in structure, mood etc. Like in Telemanns Tafelmusik. So, I will surely strive for more variety in future sonatas, but the structure of this trio sonata is not that uncommon. @Markus Boyd Indeed, I use MuseSounds, but I am still experimenting with the various settings e.g. for the violin and still have much to learn. For the 1st movement, I would now definitly choose a different sound. @Rich Thanks for the suggestion. This would nicely fit with the imitative passages in the other three movements. I will look into it. @FILMSCORE Yes, I tried to keep the movements rather concise; Corelli's trio sonatas are often that short, and this makes it necessary to be precise and to the point.

I'm not entirely sure what kind of connotations you're asigning to such a term, which I am familiar with, though with a meaning which isn't exactly very positive, so to speak. To me, "dejado" means something on the lines of "lazy", "careless", "unattentive", etc., so I don't quite understand whether that's what you actually meant here or I might be misinterpreting your words. In any case, thank you for your kind words. My mother ended up quite liking this little composition, so I'm quite glad dedicating it to her as a gift actually payed off this well.

A delicious piece. The piano is very active and playing a very important role. It's an odd combination of piano and two violin sections, and it seems to work, although the role of the second violins seems very secondary.

Wow It sounds very intense and spectacular, with 4 voices... The truth is that it catches you in a non-stop progression. I think the shortness of it benefits it given its textural intensity. The sound of the strings sounds like it's a podo “dejado” (I don't know how to explain it.... in Spanish “dejado”). Is it some effect. Greetings, and congratulations to your mother....

A short canon:

one of my favorites to cover:

Probably the shortest canon I have ever written in terms of duration, as I found most suitable to dedicate it as a gift to my mother both on account of this year's Mother's Day and her own birthday falling by the end of the month. Enjoy! YouTube video link:

Watching this Wuthering Heights adaptation for my Uni English course. Music is absolutely phenomenal.