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Jesus, but you have a lot of time on your hands! Like me when I was actually in school as a Music Composition major. Carry on! I once got an A for a paper on Beethoven's Heiliger Dankegesang, in college. 🤣

Here is my Cyrillic, Ukrainian beast, though it is not the best piano piece ever written. Для Кирила Free Sheet Music by Robert C. Fox for Piano/Keyboard | Noteflight

Well, I was trained, like many of you guys. I only think I can orchestrate, because I listened to and studied every Mahler symphony, about three-dozen times each! Divide the violas! They are less dangerous that way!🤣 Viola was Beethoven's best string instrument, like Mozart.

My best guitar writing is in my only symphony, with guitar obbligato... Symphony-Concerto In A Major For Electric Guitar And Orchestra-1 Free Sheet Music by Robert C. Fox for Various Instruments | Noteflight

Well, from a quick glance, I would say that you know your counterpoint.🙃

Here's my analysis of the three aspects you requested (harmony, orchestration, and interpretation). I've organized this post accordingly. Harmony Strengths: You use layered tones very well, especially in the strings, bassoon/contrabassoon, and brass. For example, the opening sul pont immediately creates a tense atmosphere that really suits your subject. Key Improvement Areas: There is too much harmonic stasis. We spend too much time hovering in dominant or tonic pedal harmonies without much meaningful movement beneath. Yes, these pedal harmonies go a long way to create atmosphere, but they also delay any sense of harmonic identity or direction. Even when the Allegro arrives, the harmonic palette doesn't change substantially, the texture just gets busier and louder. We are moved rhythmically but not harmonically. Suggestions: Consider using long pedal sections more strategically, with chromatic shifts in the held bass tones. These can create a lot of drama without adding rhythmic complexity. You might also consider employing modal harmonies, like Dorian or Phrygian, to evoke Central Asian/Siberian folk music traditions in a way your current diatonic approach cannot. Orchestration Strengths: Percussion! You use this section very creatively and imaginatively, and the intricate instructions and directions signal real knowledge of percussion techniques. The bowed vibraphone and screaming gong are great examples of thinking outside the box to achieve your desired effect. Key Improvement Areas: The greatest issue facing this piece is balance and crowding of registers. For example, in full orchestra passages, nearly every instrument is playing forte (or louder), and most are in similar registers simultaneously. In an actual performance, this will create a wall of undifferentiated sound rather than the textured climax you're looking for. Moreover, most of the instrument families tend to do the same thing together throughout the piece. The brass, for example, play similar rhythmic figures at the same time in your climactic sections. Same with the strings; there's a lot of doubling with the other string members. Suggestions: Stagger instruments' entries, especially with the brass, to improve timbral clarity. For the woodwinds, try not to write at the high end of their registers during climactic passages (except maybe the flute and piccolo - oboe and clarinet will become fatigued much more quickly), as they'll have to play extremely loudly to be heard. The violas are particularly underused in this piece, although all the strings sort of play the same thing most of the time. See what you can do to give each member its own line. Interpretation/Coherence Strengths: You employ strong structural ideas to frame this myth. Section I (Adagio minaccioso) is environmental and mythic. Section II (Allegro) is growling and rhythmic. Section III (Andante sonoro e vellutato) is the emotional heart of the piece. Sections IV-V (Moderato minaccioso) return us to a more aggressive character. Ending with an abrupt silence is good instinct! Key Improvement Areas: The Allegro goes on for too long, with the same rhythmic textures enduring for about 50 measures. On the other hand, the Andante should be longer. The lyrical woodwind-writing here is especially intimate, which suits the first-person encounter. If this is indeed the point of human contact, it deserves more development! Finally, the piece's emotional trajectory is loud --> quieter/lyrical --> loud again --> louder. This means the piece ends on its most intense moment... climactically dynamic, but it may obscure the mythological/encounter narrative you're going for. Suggestions: Consider giving the Allegro section an internal arc to give it more character (maybe the creature stops and listens, or there's an external threat that suddenly appears). Also, if the first-person encounter is meant to be the core of the story, consider whether that last section is a return to the environmental myth-telling perspective or if it's a different kind of confrontation. All in all, this is an ambitious work with a strong programmatic concept and some real moments of orchestral imagination (especially the percussion)! Thanks for sharing with us. Best, Jordan

Warum nicht? I would not mind this played on electric guitar! Meiner Musik is like French Salon Music, a bit later. Well-written, yet light and meant for entertainment.

If anyone wants to say this is either a bad or a good piece, or mediocre, I really don't care. It is the piece that really got me back into writing music, in December, 2024.

I forgot to mention Japanese music, as I'm only slightly familiar with it. In particular, I really think Async by Ryuichi Sakamoto is a great work. Also, I find some J-Pop songs fascinating. The vocal styles are quite distinctive to my ears. So, these are Japanese examples. Ryuichi Sakamoto - Async DAIKI TSUNETA - THE FEST SUITE FOR CARTIER J-Pop ↓ ヨルシカ - だから僕は音楽を辞めた Fujii Kaze - Nan-Nan Kenshi Yonezu - Pop Song

Interesting, at least.

Ah, Wagner! What's Opera, Doc? (1957) Opening and Closing Very hard to find the entire cartoon, Warner Brothers' best cartoon, and maybe the best Bugs Bunny cartoon, even if you pay. Go figure...

Ok, this is such an interesting topic. I didn't know some of the pieces and musicians. I've already learned about new music :) I hope that more people will respond to it. Here are my examples. Johan Johannsson - Orphee John Adams - Short Ride in a Fast Machine Albert Zabel - La Source (Am Springbrunnen) for Harp, Op. 23 Eliane Radigue - Musique de notre temps Hania Rani - Buka Ennio Morricone - The Crisis Marcus Miller - Power Cecil Taylor - Unit Structures

Three Warrior Hunettes? Not half so bad as Wagner! Spiky horn leather hats! I love his music, but his last opera (Music Drama, so he could kick me were he alive, here, at least!) Parsifal is all about Racial Purity! Hitler loved it, his favorite opera. Wagner didn't like Jews, but was at least civil towards Jews, and worked with them. A Jewish person could have played in his orchestra, and if they played well, he didn't mind. His operas are too long, but then again, I even find Mozart operas to be too long. Weber's Der Freischütz is the ideal, my favorite opera. Caspar was such an incompetent warlock! The Devil himself even did not find him to be of any use... Der Freischütz Ernst Kozub Arlene Saunders Edith Mathis Hans Sotin Gottlob Frick Hamburg Footnote: Parsifal overuses the Dresden Amen! Too many times, I think in various keys...I have the score. AMEN DI DRESDA And Mendelssohn was of Jewish extraction, but became a Reformed Christian. His grandfather Moses Mendelssohn was a famous Rabbi and scholar! Peace I leave with you (Felix Mendelssohn) Adolf Hitler didn't like Mendelssohn, still technically Jewish. He missed out...just listen to the violin concerto! Mendelssohn: Violin Concerto in E minor, Op. 64 (with Score)

I have commented on the piece already, but one can just tell from the layout of the first page of the piece that it is well-constructed! Even a glance, without even needing to read the score and hear it in my head... Ever write in A Major, my favorite key?

Looks very good from a brief glance, and I will listen later. I have one piano piece with a Cyrillic, Ukrainian title, Dlya Kyrila, Для Кирила, but Kyrylo, though very intelligent, turned out to be a scammer, but he only wanted $900. I was in no danger; I just can't put my hands on that much ready cash anyway! Got a piano piece out of the "affair," and it is hardly my best. I have never been able to figure out how to format percussion on Noteflight, but I don't write much orchestral!

A magnificent and delightful fugue. The string quartet is phenomenal here.

It’s always a pleasure to give my opinion (I don’t think it’s quite right to say ‘judge’...) on the works of my fellow musicians. And these competitions make you listen to the pieces more carefully.

I have some good examples for concert music Richard Meyer Soon Hee Newbold Brian Balmages Randall Standridge John Mackey Robert Sheldon Frank Ticheli and much more

= Sharing Musicians(Artists) and Works = I want to know a lot of musicians and works. But it's impossible to know them all just by searching on my own. So, sharing them with people who have different backgrounds and interests may lead to expanding our knowledge. Any kind of genre is welcome (the more diverse, the better!). Ex: Avant-Garde, Classical, Electronic, Ethnic, Local or Country music, Film Music, Jazz, Pop, Rock... I mean everything! Here are my examples: Ryoji Ikeda (+/-) Snarky Puppy (Somni) Richard D James (Drukqs) Venetian Snares (Rossz Csillag Alatt Született) Edgard Varese (Déserts) Stevie Wonder (Journey Through The Secret Life Of Plants) Baaba Maal (Gidelam) György Ligeti (Poème Symphonique) Jon Batiste (Beethoven Blues Für Elise - Reverie)

I used VDL. or virual drumline

𝑪𝑶𝑵𝑪𝑬𝑹𝑻𝑶 𝑨𝑳𝑳𝑬𝑮𝑹𝑶© by: V.I.P.EXCLUSIVE™...............Cheerful.............Just like Me CONCERTO ALLEGRO.mp3 CONCERTO ALLEGRO.mid CONCERTO ALLEGRO.pdf

I got a lot of my syncopation from Brahms, but a lot from Rock, GOOD Rock! The syncopated melody of a GOOD Rock song mirrors natural human speech better, because natural human speech is syncopated! Just TIE THOSE NOTES UP! They will escape, eventually....Remember: if it is syncopated all the time, it is NOT syncopated, and straight quarters will sound like syncopation!😁

Cool piece! I love how your atonal technique makes these "glassy" sounding chords, thin and angular, and the juxtaposition with a more traditional tonal sound is neat. I really think you could absolutely take this idea farther. For example, you have the sections completely separated -- I wonder what would happen if the atonal sections had moments of consonance, and/or vice versa? This atonality is quite gentle and agreeable, and consequently, I think it would be relatively easy to mix the two. Thank you for sharing!

400 views? Now I HAVE to complete the little piece; will probably be 2-3 minutes, when I feel like writing, anyway. 😉

That's quite some percussion section, wow! Are you perhaps using the Berlin Percussion library to get all those sounds? There's quite a few instruments I've never heard of before. Will have to look them up...