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Very few composers really knew how to write for cello. Only a handful of famous composers even composed famous cello pieces. This will be an effort to bring more information to composers and hopefully have more memorable repertoire. Consider the cello as four instruments, the A string is somewhat harsh in the low positions but in the high positions, it soars like a soprano. It's somewhat oboe-like The D string is where most music intended to be played on the A string really is played as the notes are less harsh. The G string is the warmest and most soulful part of the cello, especially in a higher position. The C string is dark in the lower positions and almost comical up in the high positions, although it is scarcely heard. This string is quite like a bassoon along with the G string. This effectively makes the cello the most resonant in G keys. Double stops with open strings are most abundant in keys around G. for example, D is the only key where closed position triple-stops can be used somewhat freely (only major and minor chords are shown)

This is nice. I liked the barcarolle feel, wasn't so sure of the programmatic elements you said you added (like bar 10). I guess it came out of nowhere to me, or maybe it's just the midi. Speaking of... man, why do you use noteflight? And you have 0 dynamics! Your music would really sing and come to life if you would at least put some in. If mf throughout, note it? You could easily copy all your music from noteflight into Musescore or some other, any other notation software. I'm only saying this because you've mentioned you're pretty well off, in your 40's or 50's... if you're adamant about sharing your music with the world, why wouldn't you want to make it sound as good as possible? I mean, no judgement I guess, but Musescore is free. A few afternoons drinking ice cold refreshing thirst quenching brain livening body rejuvenating water along with smoking good old fashioned breathable crystal clear earthly air out of your pipe whilst typing them there notes in... and well, by golly you just might have some way cooler sounding music to share or enjoy yourself. Don't forget the dynamics 😄

Hi @Tunndy! I quite like the loud passage in 0:48. The sound in 1:18 doesn't sound realistic enough, though I love the effect there. The melody is quite memorable. Thx for sharing! Henry

Cool! I won't follow and make any template then since they make this fun comp less fun!

No - you can review the pieces the way you usually do. Or you can make a new template for yourself with completely different categories and on a completely different scale/point system. It's all up to you!

Do we have to follow this template when we review in order to have our reviews counted?

I have made a Competition Reviewing Template for those who want to review the pieces using the scoring definitions and categories mentioned above.

Audio + PDF score of what I've written so far OBOE.mp3

Added a mention of sexually explicit topics considered NSFW.

It isn't my forum. @chopin is the owner. But this code of conduct and forum etiquette was a staff creation. That means @chopin, me, @Henry Ng Tsz Kiu, @Thatguy v2.0, and @UncleRed99 were involved in its creation and we all agreed that it was necessary.

It isn't my forum. @chopin is the owner. But this code of conduct and forum etiquette was a staff creation. That means @chopin, me, @Henry Ng Tsz Kiu, @Thatguy v2.0, and @UncleRed99 were involved in its creation and we all agreed that it was necessary. Thank you for the compliment!

This is an informal competition. All the participants are free to judge the entries as they see fit. And if you review all the participants pieces in the competition you can get an "Ardent Reviewer" badge!

Review of Waltz in f minor: Melody: I love the charming, simple melody you have in the foreground. However...as a listener, it is bit repetitive. You have established basic idea from the start well. But, you need contrast against. The audience needs to go "awe" and be able to listen piece from start to finish. This is why we have melodic form and structure. It just needs to flow logically and have contrast. Furthermore, you don't normally see that rhythm pattern in waltz. It nice to hear something different, but it makes us wonder is this a waltz or something else. Reconsider that. At m. 21, those 16th might be too difficult for pianist to perform. I know you were trying use what chopin what would have use, but he was very talented, and pianist today...their hands hurt. Trust me. Harmony: through out the entire piece, the harmony does not adventure too far away from key. (i.e. mainly diatonic). I feel that it would be better if there were chromatism with harmony and the piece modulates. Form: I am not sure what form is...

I will have listen and look over this weekend and next week: and then write my review following that.

You know...I was just about to ask for this. LOL.

I am joining this competition: I can be a judge. 🙂

Entrance here. I am in.

I am still looking for a person that will help me with this lied, by the way.

Honestly, I do not know what exactly you are talking about. Time to sell the forum, if you yourself do not know what you are doing?🤣

I am just not going to understand your very ANAL of a way you manage your forum, Peter Paper, and you are a competent composer, but I just say what I mean, no narrative to fit.

Anyway, I think this piece I wrote more than half my life ago has some legs. Too much dissonance for my old age...😉

I was truly impressed by your depth of knowledge and clarity of explanation. I would be deeply honored and genuinely grateful if I could stay in touch with you or have the opportunity to take lessons and learn from you directly. Your guidance would mean a great deal to me, and I’m very eager to learn under your instruction. With sincere respect and appreciation, Kian Mahdian

Don’t worry about it at all — and I didn’t take it the wrong way whatsoever. On the contrary, I really want to know how another musician perceives something from a different perspective than my own. Everything you said has a solid basis, and when those ideas make musical sense, they’re absolutely valid. Thank you again! I’d be very happy if you checked out my channel and listened to some of my other works — it would really mean a lot to me.

I'm glad you did! For me, I was going to have those reactions anyway, but obviously I'll have a different perspective. It's great we get to share potential reasons for feeling differently. Don't get me wrong; it's an incredibly smooth little sequence! It's actually possible that I thought it almost needed to stand out more, in a way, you know? Like the character is so different I might have wanted to hear it be a little wilder to reinforce that in my brain, you know? Not entirely sure. Kudos, again. Lovely stuff.

First of all, thank you so much for taking the time and care to listen to my work so attentively — I truly feel grateful for that. I’m really glad you liked it and appreciated the effort I put into it. Also, thank you very much for your feedback. If you’d like, I can share my own perspective on the points you mentioned. At 2:40, since there was a modulation to B major with the initial theme — and because of its nature, it didn’t really lead anywhere — the only way forward was through a series of modulations, starting with C-sharp minor. Then somehow, in a dynamic way, I had to wage a sort of “battle” of modulations to find my way back to the tonic. From my point of view, that section is actually one of my favorites; it just felt like it needed to happen that way. At 2:49, I wanted to keep that drone note more as a timbral element and to add a more dramatic texture due to the constant alternation between major and minor. From a technical standpoint, you could say it’s nothing particularly special — it’s really more about the color I wanted to convey. In general, I truly enjoy hearing everyone’s perspective and how each person approaches the piece with their own unique viewpoint — it’s very interesting. Once again, thank you, my friend, for your kind words and appreciation. Wishing you all the best!