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Hello @gigashahriar and welcome to the forum! I'd be happy to listen to your original piano piece, but I can't find a link anywhere for where I could listen to it? Am I missing something?

Hi everyone, I’d like to share one of my original piano pieces. This composition blends classical influences with a more contemporary feel — something that reflects both my training and my current explorations in music. My goal with this piece was to create an emotional flow that feels timeless yet modern. I’m opting in for a chance to have this featured in a YouTube video/short. It would be great to see how it works in a visual context, and I’d be happy to hear any feedback from fellow members here. If you’re curious about more of my work and past releases, you can also find them here: Gianluca Fronda Looking forward to your thoughts and constructive feedback!

Hi @Kvothe, I am not expert in counterpoint, so take my comments with a grain of salt. Most of your exercise would be technically correct, as it is mostly thirds and sixths. I see you have an interval of a fourth in m.14. This interval, in classical counterpoint, would be considered a mistake (even though in other types of counterpoint it would be acceptable). So, strictly speaking, your counterpoint is not wrong. However, most times counterpoint is used as an exercise by setting up some rules and learning how to compose while sticking to them. These rules can be really varied, but some of the common classical rules are: 1. Using mostly third and sixths (up to three times in a row of the same interval at most) 2. Trying to make the melody move mostly by step, with occasional jumps (making the melody as melodic as possible). 3. Contrasting contour between melody and bass to some degree, where at times when one goes up, the other down, and vice versa. 4. Avoiding parallel fifths and octaves, having fifths only in contrary motion, etc. For example, in your exercises the melody is jumping around too often, which, in classical counterpoint, would be considered something to avoid. So, while your exercises are not wrong, I think you would benefit more by setting up some rules and following them, since using sixths and thirds without consideration of the melodic contour would be easy and, while technically correct, I am not sure it would help you as an exercise. Hope it helps and thank you for sharing your exercises!

Well, I don't mean to sound pedantic, but music is music, is it good or not, and will it last? Beethoven is more popular than the poppiest pop song, given the years.

That makes more sense! Thank you for the insight

I'll quote for you another passage from Chapter 31 of Gabor Mate's "In the Realm of Hungry Ghosts" - a book about addictions:

I shouldn't "bump" my own piece, but this might be the favorite for me that I wrote this year, even if it is not upbeat and jolly at first! I didn't think of this when I wrote it early this year, but my Guitar Trio has a story, a "program" as they say. It's an Eastern European guy, let's just say a Russian in Siberia for convenience, though he could be Ukrainian, Bulgarian, Byelorussian, and it is a hard Winter: he can only play his little bit of guitar and his wife sings or something. They are frozen in, and all he can think of is dancing at the Siberian Bar! He gets to do that in the last movement!

I just noticed "literally" as these kids today are wont to say, and I can't believe how many views! This piece, despite its faults, got me back into music composition this past December! It is special to me. THANK YOU!🙃

No idiom, my style, though of course influenced by others, mainly dead guys like Beethoven and such! Wow, this little dash-off has a lot of views in one day!😃

Yes, that is a good idea...however I can't think of anything that would sound good over the Dbmaj7 chord without creating an unpleasant dissonance. Oh that would be perfect. And then I would just have to write a few measures before that of "prelude" material. And lead into the strings playing the melody solo, and then the oboe emerging from there. Thank you for the feedback! I really appreciate it

HI there, I would like to have score this quartet so I can give my feedback. Kvothe

I truly wish we could have score: that way, we can admire the textures you are using in this composition. I love the lush strings in the opening that leads into piano solo. It is so beautiful. The brass choir is just like: now it is our turn to shine. But not before organ section? Amazing...

Ah...why didn't say so? If you are writing in 20th century idiom of Philp cage and others, then I see no issue here. I am sorry.

Kyrylo has not gotten back to me; he did reply to another e-mail, but I am not sure if he has heard his piece yet. Yes, HIS piece, for even if he does not know it, he helped write it. The dude's in Ukraine! One cannot always have WI-FI, charge a cell phone, but I still want to know what he thinks of my stream-of-consciousness dashed-off piano piece.

I enjoyed so many moments in this! Your music is mature and elegant, this was very fun and enjoyable to listen to (even twice 😄) I love that B theme in the 1st movement, and you end this around the 21 minute mark brilliantly with the vi bVI I chords, it was my favorite part. I always admired how Beethoven saved the best part of his music for just the right moments, and yours gave me a similar feeling. Thanks for sharing and popping by! Keep writing, I love your music

Well, I am 56 and have a BM and MM in theory/composition, and all I can tell you about species counterpoint, though of course I know what it is, is that my college Counterpoint manual made for thrilling reading, a real page-turner! 🤣 I like plain octaves in piano, especially two-octave spaced. Minimalist! This piece for my overseas friend was a real dash-off job, not my best, but I think pretty good for two hours! Anyway, if you have been composing for 38 years, if you want to write a piano piece really fast, you use the minimalist tricks, but you might take more time on some things!

Hi there! This piano piece is rather delightful. I love how charmful it is. However, in m. 6, the parallel octaves throw off the charming. In two part counterpoint, you normally want to avoid that. You should try mixing imperfect consances with perfect ones. I notice a lot parallel 3rds and 8ths through the piece. I recommend species counterpoint carefully and maybe reading through counterpoint book. There are a lot members on here who can help you.

Maybe create some motion in the inner voices like you already did in m. 4 when the melody is sitting on a long note? Like the chord in m. 5 - 6. Also something that happens in concerti is that the melody is first introduced by the orchestra alone before the soloist plays it. Maybe you could do that here where prior to the Oboe coming in the string orchestra plays the whole 14-bar melody you already have. You could use that as the introduction to the Oboe melody that you already have. Also using some octave displacement of the melody could bring some contrast between different versions of the melody (like if the beginning version of the melody without the Oboe were an octave lower for example). Those are just some ideas I had while listening. Looking great so far! Thanks for sharing.

I understand, I try to delete the e-mail addy, but I go fast and forget, miss it...he wouldn't mind, but I can see why as a matter of protocol, no. HA! Just an afterthought I just thought of: what if you were a mod for that silliest of "conspiracy forums," Godlikeproductions, GLP, or Satan-Like Obstructions dot CON, as I like to call it. If people get called out by a mod there, and half the time the mod is in the wrong, they have gone so far as to barrage a moderator's thread with the very sickest gay porn, not that I care, but...

I think he's referring to you posting personal information, like the person's email address I deleted in a post of yours. Protect your friends, anyone can view public forums and obliterate their inbox with spam 🙂

WIP Update : Orchestrated the melody I have so far. I want this section to just be the oboe + strings. I'm still trying to come up with some material to put before the oboe comes in. I start on a Gm/C chord (technically Gm7/C with the oboe melody), so I just need a progression that will lead me there 😂. I'm thinking French horn melody with suspensions and soft movements (think Hymn for Band by Hugh Stuart). If anyone has any suggestions, please let me know.

Hello everyone To warm up my warm my composition skills, I will be going counterpoint (species and such). You help will greatly apppericate. Below is first species

I only saw this by accident, and I really should listen to both, the which-sonata-is-better game! It's been a bit crazy for me. I actually wrote a piece yesterday for a young Ukrainian man's dead grandmother! That Ukrainian wants to come here, family issues, yada yada, but I have a lot on my mind. Anyway, I'll listen now. Bb Minor: first movement is fun, quarters and eighths a bit bangy-tie some together and get syncopation, but always keep up the rhythm. Liking the second movement, seems like a quirky and enjoyable scherzo. Largo, I might vary the rhythmic texture beyond straight quarters? The rondo is very classy! Eastern European quality sometimes, as I like to do: Dvorak Dumka! Whoa; going full Liszt at the end! Next, key...oh yes, e minor. Guitars like that key! From just the first movement, maybe I like this one better? You are good with register contrasts in your piano writing; been talkin' to Herr Beethoven? In general, both sonatas have minimalist passages, Philip Glass-like. Nothing wrong with that! Allegro Maestoso is good, I'm getting Schumann and Brahms lieder somehow! I like things in both, maybe edge in the e minor. I think when you write another sonata, you are the composer, but it might be a good exercise to try a minimalist one, more counterpoint than full chords, look at Hindemith Sonata #2: it just crossed my mind! You don't have to write in his style.

Sonata No. 3:https://musescore.com/user/96214813/scores/27723544

Hi all. Here's the latest version of this work. Let me know if you think it's going in the right direction? I've made it more harmonically adventurous I think. Just wonder whether my chord progressions work; or if they're a bit too silly? I was trying to use secondary dominants and secondary sub-dominants. The 1st movement probably needs some massaging to make the transitions work better. The 2nd movement is probably incomplete, unless I decide to leave it with its current ambiguous conclusion. The opening of the 3rd movement was constructed by applying negative harmony to the 1st movement. The piano chords will eventually be shared amongst the woodwind, brass and available strings. What I'm aiming for, is a modern take on Vivaldi that's not pastiche. Something a bit like "The Capriol Suite" perhaps.