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Thank you very much Pyry! Have a good evening!

Hia, thank you for the answer. And I completely understand and relate. It is a shame about the score. But yeah, passion is what keeps the ball rolling, I applaud you for that. In case I forgot to mention it, I still liked the piece! Keep on going, I might check some of your other posts in the near future. Good night! 😄

Hello there Pyry, I appreciate your comment and I like that you are giving your opinion in such a peaceful way, unfortunately the score for this composition as for some others is lost and as it is finished I didn't have a reason to make it again and it is not an easy thing to do actually, I had kind of the same opinion from one friend that I had who plays the piano and composes also, and I will agree with you at some point as I did with him and with myself, I hate my music more than anyone but I also like my music more than anyone and I'm listening to it like a drug addict and I always want more from me so I know exactly what are you talking about and thank you for mentioning it with honesty. Best wishes from Greece, Demertzis

Wow! I am very impressed! This reminds me of some pieces I've written myself but I am really excited by this! The techniques are well used, timbers and harmonies work. The score also looks well thought out (using a landscape style view also seems to be smart). How long did this take to make? I have two very close people in my life (one could even call them family) who have OCD, and even though I don't score particularly high on those tests I still feel that I have a basic understanding of the disorder. The sudden strikes and hits definitely seem to hit a mark. It feels like a fight. When I hear a major tonality or something "easier" to listen to I imagine the situation in which you do the thing your anxiety tells you to — But as is evident by the piece, the anxiety comes back. To my understanding that is one part of OCD but once again as I don't myself experience it I hope I am not making any mistakes in my analysis. If you are open to discussion about this piece I have many questions concerning the process and symbolic decisions you made! Thank you, Best wishes from Finland, Pyry.

Would be very interesting to see the score! I am not sure whether you are looking for critique or not so I'll keep mine short and open to interpretation: I feel that the piece has a lot of potential but doesn't develop, merge or play with ideas for as long as I as a listener would want. You have good ideas, now the work is to look at the thing as a whole and tie them together. But that's just my view. I really am a big fan of pieces that have long developments that still feel interesting. That being said, Rite of Spring is my favourite piece but... Best wishes from Finland, Pyry

I also noticed something: In your horn parts, you have one two horns, but it the scores implies 4?

Hello @Thatguy v2.0 After I thoroughly listen to the piece, here are my thoughts. Playability: The prelude is certainly playable for pianist at late intermediate through late advance skill level. Everything is well marked throughout the score. (There are no questions about the accidentals). Motive(theme): The theme is well devolved thorough out the piece. Harmony: The harmonic colors underlaying the minor theme create sense melachony. 🙂 Form: A, A1. A2 is well done. Tone(taste): This piece reminds me of Pictures of exhibition in some way. I love Mussorsky works. 🙂

It's a G minor 9 chord! Did I win?!?!?!

I like the C nat 😛 Lovely music Mikayla, thanks for sharing!

Based on ruminations ("the action or process of thinking deeply about something") on "contingent ephmeral art" and the absurdity of the mundane. Liner note (also on last page): Ruminations for String Quartet in G, Jan 2026..mp3 All thoughts welcome! Every little piece of attention feeds my ego-

Hello! Here's a funeral march type piece. Form and harmony are very static and simple, in Fm with an A | A1 | A2 form. Hope you enjoy, and as always, any comments are welcome 🙂

I've not listened to the piece yet, but just looking at the score, I think you could change the sizing. 4 or even 5 systems per page would be better and more standard.

@MJFOBOE Thanks for the thoughtful feedback. I do realize the ending lacked something, but I've racked my brain to come up with something good and couldn't get it to where I really liked it, so I just went with something instead of overthinking it. I am open to changing it if I come up with something better later! Do you mind saying why it feels like Bartok? I'm curious because I'm not familiar with his work.

@Henry Ng Tsz Kiu Thank you! I forgot to write asking if I had this in the correct key because I was unsure of it and confused with all the flats haha

Thanks Henry. Mendelssohn is a composer I've neglected until now; although he was apparently a greater child genius than Mozart! I accidentally wrote a few hand clashes in the harp (e.g. Bar 45 on Middle C). Hadn't thought of using xylophone, but will give it a try. I would like to add more for the violins and celli to do: so I think your suggestion is a great idea.

A charming "twinkle" of a piece which brought a smile to my face. May only comment is ... I felt the ending had a bit less flair within the context of the composition. I really like the different feels in the work from "jazzy" to "Bartok". Mark

A beautifully crafted work. I am curious to know what the motivation/intent is for this creative extensive Symphonic/Tone Poem? Mark

I am sooo sooo glad you liked the compositional devices I used! Thanks a lot Henry ☺️

Regulation.

Hi. Welcome! I could help.

Hi @mercurypickles! Thx for a really long review. I don't expect someone reviewing this year ago Sextet! Thank you! I am sure there are lots of great pieces in the forum but I would also admit this one is one of them too haha. Yeah actually this formal inspiration only grew after I finished the first movement. I originally only wanted a single movement Sextet, which contains the first movement only, but after reflection and a meeting with my philosophy professor and friends I knew it's not enough, so I planned a 2nd movement as well. I would say had I not written the second movement, this would be a complete miss and a big fault for not having the opening theme reappears at the end of the 1st movement. But luckily I did turn this fault to a bigger blessing when I had the opening theme reappeared rather in the climax of the second movement with a 3 voice unison which really strengthens the power of the theme, which the power would be reduced had I let the theme reappear in the first movement after its initial reappearence. Back then when I wrote the Lamentoso which contains the 23:38 passage I was real depressed so I definitely expressed it in my music. It's always my goal to communicate my thoughts in my pieces. I would rather give up composing if I cannot communicate through my pieces and force to write pieces I don't want to. I think I won't orchestrate this one. I am really shxtty in orchestration as I am only writing my first orchestral piece now, and also I would want to have this Sextet remain in a more intimate and retrospective manner so I would prefer not orchestrating it at all. But if someone does this job for me I would be more than happy! 😁 Thank for saying this, as I always doubt whether I have enough knowledge to provide feedbacks at all, and whether those feedbacks are really helpful to other members at all. Without his videos I am probably still writing Mary-had-a-little-lamb level for chamber writing lol! Big props to his analysis! Thank you! Henry

Hello @RochaTipoPedra, Sorry for a really late review. I do like the piece and even though I am not too familiar with trombones, I don't think it has errors. The overall mood of the piece is solemn to me, and if I am going to say what I am less favour in this piece is most of the movements are in slower tempo. My favourite movement of the piece is the 3rd movement because it is the most exciting one in a marching quick tempo, but the other 4 movements are more or less in a slower tempo which may reduce the excitement, even though you do very well with the dynamics and control of climaxes throughout the piece. Thx for sharing! Henry

Hi @seo_composer! This is a really soothing and lovely piece, I love it! I like the sections after D section when you start to have more interaction between the voices and reaching the climax later, and I really like how you end on a E major chord for the Section F! The melodies throughout the piece is captivating. What will be the voice for the solo? If it's soprano, the B3 can be a bit low for her to sing! Also for me in section A to C you can reach a higher register since lingering in lower register for a long time would tend to make the piece less exciting! Nonetheless the climax after it does turn the piece around. Thx for sharing! Henry

Hi @mark styles, Welcome back to YC! This one does covel a large palette of sounds. I like the sound effect in 0:45. I would say the title "Fortitude" really matches the music here. It's like you search through a lot of different things in your life for the first two and a half minute and then you know what remains at the end. Thx for sharing! Henry

Hi @mercurypickles! I like the modes you explore in different sections of this Scherzo (probably the "Indian" element?): C Phrygian in first section, A Mixolydian for second section and a mixed of modes in third section. I also like how you use repetition of rhythmic ostinato in the first and third section in the accompaniment part for a really indigenous effect, it really sounds like what I would have heard in a World Music class. The 2nd section, benifitted from the Lydian mode and the broader piano part, is really calm to me. Thx for sharing and hopefully you will post the other pieces of the set too. Henry