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The only thing I might suggest is to bring out the melody a little more by either lowering the right hand by an octave (in some parts at least). Sometimes its hard to hear the very high notes, especially when paired with the deeper notes of the left hand. But aside from that, the music itself is beautiful, especially in this context of an Ice Cave.

A very good effect overall. The high tessitura of the melody, as well as the arpeggios in that area, give a very ethereal effect and also suggest drops of water falling. Another thing that I think contributes is leaving the note suspended in the second part of the bar in the accompaniment. There are also some very beautiful harmonic changes, such as in bars 6 and 5... It sounds fantastic.

The waltz sounds very good and has some surprises at the end. The study, in the bars where there is more counterpoint, still sounds basic. For example, because the accompaniment sometimes takes notes only from the chord in some bars (9, 10). Also because there is obvious parallel movement (13, 14).

This reminded me of the things Brian Eno used to do.

my first post yayyy

Far as I know, this Ravel prelude from 1913 has never been orchestrated before (unless any of you know different?) So here is my attempt. I've used fermata of various lengths to create rubato. I wonder if I should use more dynamics? (Though MuseScore tends to exaggerate them.)

I consider this another palette cleanser. Just a simple piece without microtones meant to evoke a mood/vibe for the purpose of being background music for an Ice Cave location in a videogame. I'd appreciate any comment, critique, suggestion or observation! And thanks for listening!

I like the orchestration: it's very cinematic, with moments of contrast, tension and release. You don't often see a basset horn these days! I tend to associate those with Mozart, as I think he used them in his requiem.

Mysterioso in E Minor is a piece I made for a full orchestra. It is approximately 3:50 long and has 122 measures. I'm looking for feedback on the overall composition and how well I orchestrated it. (P.S. I might change the name to "Adventure in E Minor" due to its wide range of themes, emotions, and tones.)

Quite hauntingly beautiful ... Mark

Hello @Tunndy and welcome to the forum! I think this is a fun exercise to help you understand Khachaturian's composition and how it works harmonically and melodically! And, I love this piece! It's my all time favorite waltz for sure as displayed in this topic: What's your favorite waltz? But of course, people won't be able to help but to compare this to the original, and even if just by duration only, it pales in comparison. But I'm sure this was a very educational process to create this, given that the original was for orchestra and you had to arrange it effectively for piano, which you did with some personal changes that imo don't improve it. But you're fighting an uphill battle in this kind of mimicry because the original piece has 76 years of nostalgia already established for it. And people don't like knock-offs or off-shoots. But I'm not trying to discourage you - if you find this process educational then by all means keep doing this kind of composing! There's plenty of composers who make mock-ups of other composers' works for the same reason although usually they try to stay as true to the original as they can. Thanks for sharing! Edit: But there's also of course the endeavor of writing variations, reharmonizations, or re-arranging the original material which I definitely want to encourage since I myself love writing these kinds of pieces.

In terms of structure: Introduction (b.1-8) A (b.9-24) B (b.25-40) C (b.41-64), I combine and develop both melodies from previous materials, while adding a new dance-like melody. Clarinet melody of b.41-42 and b.48-50 are from A, the ascending 5th motion of b.50-51 is from B. Clarinet theme gets repeated on the piano starting from b.53. B* (b.65-78), with the ostinato and thirds from the intro. Cadenza (b.79-100), contains materials from A and B. A* (b.101-120), I develop the theme a bit more with a climax at the end. B** (b.121-128), B theme with imitative counterpoint between piano and clarinet, transition to the Coda. Coda (b.129-142), the first part of which is the Introduction section paired with the B theme on the clarinet, b.137-142 is the beginning of A but more conclusive, b.141-142 on the piano is the B theme.

Thanks Mark! I seem to have caught the orchestration bug recently. Have made another one today, this time of a never previously orchestrated Prelude by Ravel.

Alex I enjoyed your orchestration ... especially the use of different chamber sections: winds, brass, strings in the reiteration of the theme. Mark

A very engaging work .... which requires very skillful players! How would you categorize your work? It has some many different melodic elements. Mark

Hi ... How would you classify the musical style of your work? Mark

Definitely has a folk quality in the thematic presentation. There is a feeling of music from the Caucuses and well as the some slight Hebraic feel. With a bit more Hebraic influence/style - it could be a lovely nighttime pray. Mark

This work reminds me of There sections akin to your style. I enjoyed your experimentation .... Mark

This is a wonderful tender charming work. The thematic motif is endearing and the rhythmic gestures delightful. And the subtle harmonic movement creates a gentle push forward. Quite mysteriously romantic indeed! Mark

would love fedback

Hello everyone, I have the immense pleasure of sharing with you the complete cycle of melodies for baritone and piano, the imitation of Notre-Dame de la Lune. It took me 9 months to compose this. I had put the pieces online on Youtube as they were recorded, except for the last one that closes the cycle and that you can discover in this full video. There is also a big remix work here because I wanted a listening that is in continuity, as if it were a concert or a recital (20 minutes a little more). I have chaptered the whole, for more convenience, and above all, you can activate the English subtitles that will help you see the text and music links. I also tried to frame as best as possible this time, provided you can read the score at the same time (I know that some people prefer). The following steps if I were logical would be to make a computer engraving of the partition (the manuscript is pretty, but not very readable anyway). Then file with a society of authors. It's planned... In the meantime, thank you for listening!

This one's so short and beautiful, I couldn't resist orchestrating it tonight! Whilst working on it, I discovered a weird bug in MuseScore, that causes low dynamic quaver triplets to be played as semiquavers, with an extra note added to the front! Seems to affect all instruments. After about an hour of fiddling around, I finally managed to get rid of it by raising the dynamics of that phrase to mezzo forte. They also seem to have broken vst3 support, as my copy of Spitfire BBCSO lite will no longer load. I just get a Spitfire control box with an error message. Wondered if anyone else here is having the same problems?

It's definitely better, but imo there should be a faster tempo/accel. up to bars 6 - 7 and 14 - 15. Cuz those figures seem like the culmination of the phrase. If it were my piece I would accel. up to that point and then perhaps rit. afterward. But it's your orchestration and you should of course do what you feel is right. Thanks for sharing this update!