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Hello my dear friend and thanks for your attention. I'm glad that you like them. About your complaint. Can you specify me the exact bar just to give you my point of view and explain it to you ? Thanks a lot 🙏

It would be helpful to see a score. There's a certain charm to the piece, but also some harmonic awkwardness in places. But for just your seventh composition, it's quite promising!

These are both lovely. I especially like No. 2. No. 3 sounds like it could be a good theme for variations. My only small complaint, and perhaps this is just me, is that to my ear it sounds like we've moved into D flat at the end of the second phrase, and the final A flat chord feels like it wants to resolve to D flat to me.

Lovely! Keep writing, you've got natural talent and cool ideas 🙂 As mentioned, if you use a software that creates a score, post that too! We can help with your writing and analysis more clearly with the orchestration visibly exposed. If not, that's not a worry either, and if you have specific concerns with your music just ask. People here are mostly pretty helpful and responsive. Especially @Henry Ng Tsz Kiu. In fact, he prefers it if you ask him lots of questions, even when he's asleep! Just playing around, welcome!

Why hello there, I thoroughly enjoyed listened to your waltz. Alas, without the score, I cannot give in depth analysis of it.

first time I ever composed for an orchastra, would love to hear feedback

Hard to believe it has been just about exactly a month since I wrote this, and it is the last thing I wrote! I go through compositional sorts of manic/depressive phases anyway, compositional "spurts," and that little bit of editing almost puts me back in the mood again, almost...I get paid in three days, and maybe a couple of stiff drinks would help! 😆

A bit off....mp3 original beta version.

Two minor changes today, measure 78 I changed a G in the bass to an Ab, because it made more sense in just the harmonic grammar, and measure 96 in the "Minore" variation, where I did not reproduce the melody correctly. Just had to do that, and change the RH 16th figuration to a dominant seventh of C minor on the first beat.

Here's a better version. This song was fun to make, especially because this ones follows the forsaken music, which has 4 layers. Layers: 0:00: Layer 1. 005: Layer 2. 011 Layer 3. 021: Layer 4.

Very nice!

A bit off.mp3

Hello to all . Here 2 of my albumblatt pieces . Very short pieces . I hope you like it

https://youtu.be/Q6EBk0Pz6fs my seventh composition, would more than love to hear feedback

Nice. Looking forward to the live version

Thanks! Just classical guitar patch with noteperformer I initially thought I would have to do that, but I started out with just reading the piano sheet music and trying to arrange the larger range of notes within the confines of a fretboard and ran with it. It's the original key, but I'm not completely sold on how I had to go high in measure 13 on the Bb chord. I'd love the Bb to be the lowest note, so maybe my low E. Then it's in C#m which is cool but eh we'll see. Interesting take, I could see that! Check out the original, it's much more somber and just overall better lol. https://www.youtube.com/watch?v=0R14whYG0k8 ❤️

You know, I kept meaning to comment on this, and then life got busy. Whoops! Thanks for the kind words, buddy. I'm happy to have gotten to know you, and your music has influenced mine as well. 🙂 I've listened to this a few times since you've posted. It's probably not a surprise to know that this is my favorite piece of yours. The sonata as a whole is so addicting to listen to, it kind of checks all my boxes as far as just plain old good enjoyable music. Your playing is outrageously fiery in this too! I love it. You're such a passionate player, and I can hear the grit and wrath, and also the softness and pensive yearning. At first I wasn't sure how all the vastly different themes blended together, but in the end I think it works. I like the sort of confusion in the form too. The transitions seemed iffy in some spots, but when I think about it, it's kind of cool that you smoothly blend some transitions, yet others are sudden complete shifts. To me it actually helps with figuring out how to mix and match your themes, adding to the jaunty diversity of it all. The nihilistically scherzo part is so friggin cool! I love all the bluesy parts, and it's a fresh take to a familiar style for my ears. It sounds like you gave sophistication and elegance to a naturally rough around the edges kind of music. Love it 🙂 This was wonderful, Henry, and I and I'm sure many others love hearing what you present here. I'm continually impressed with your work ethic and motivation to present your music in the best way you can. Your piano playing is admirable, and many others including myself look up to your compositional talent and enormous heart. Thanks for sharing Henry!

Hey Vince! Wonderful piece! And the production/rendering of the guitar is pretty good too! Regarding your arrangement - is this in the original key? I'm just thinking that it might make it easier to play if you transposed it to a key more common for guitar literature such as E minor or A minor. Have you thought about that? Nice French 6th chord you have there in measure 12 and 16. Funny though - it doesn't sound like a funeral march to me at all - there are plenty of hopeful moments. Perhaps a bit of melancholy mixed in. It almost sounds like it could be a slow and stately Renaissance dance. I really enjoyed this and I'm looking forward to hearing a live version performed by you! Thanks for sharing!

Fun thing I arranged today. I've been working on learning new solo guitar pieces, and recently have been learning some of my favorites from the classical/concert realm. This isn't the most popular of Mr. Sibelius' work, as it's a cold funeral march type of thing, but I love it. I couldn't find a guitar version, so I dabbled at my own. I might record this at some point when I can stop screwing up measure 12 😄

I'll quote for you a passage from Chapter 22 of Gabor Mate's "In the Realm of Hungry Ghosts" - a book about addictions:

Hey Vince, Thank you truly for your kind words. It was definitely a learning experience, both in terms of meeting new people and composing. I felt that the two weeks were intense but I guess it was worth the money I've paid, since the recording came out great. very glad you enjoyed my piece.

It's a fun theme, and I think you do a good job at keeping things interesting despite working with just one theme. The first variation is FIRE. Your other variations leading to the fugue are good, but as other people have said, there's a lot of repetition. But you know what, that's ok because it led you to writing the fugue variation. And the fugue is by far the most powerful writing of this piece, which makes the whole darn thing worth listening to. In fact, the fugue with your last variation + coda make the last 2 minutes or so incredibly powerful.

I found this piece in an old notebook. I had originally scored it for 2 Clarinets and an Oboe and Bassoon. But after checking the Bass Clarinet range and finding that it had the same range as Bassoon, I rearranged it for Clarinet Quartet and finished it. The variations are as follows: 0:40 - I - Stack 1:18 - II - Leapfrog 1:54 - III - Siciliana 2:51 - IV - Lilt 3:38 - V - Waltz 4:39 - VI - Lilt 2 5:12 - VII - Scherzo 6:07 - VIII - Fugue 6:50 - IX - Synthesis 7:17 - X - Coda I've been told that the piece is a bit monotonous (I guess that's always a problem to contend with in variations pieces - making the variations different enough from each other to sustain interest). But let me know what you think! I welcome any of your suggestions, comments, critiques or observations. Thanks for listening!

holding the bow while plucking is what I was taught.