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Great analysis, thanks Danish! For the cadenza, what if I just have one solo violinist dovetailing with the woodwinds?

Hello @Aiwendil Review: Let us talk about what a trio is. In a piano trio, you have two solo players and a piano player. When I listen to your piece, i did not hear two solo string players. I heard multiple. They sound different. Next thing you want to check is balance. I feel that FF is too loud a trio. The background elements will overpower the foreground. You do not want that. I would suggest remove the dynamics for now. The thematic material the proceeds b.19 confuses me. what is the purpose for that section? So much empty in the solo strings. 10 measures of inactivity. I suggest removing those bars and start at 68. :) Then place the first ending repeat at b. 122. the second ending where femata is! in other words, look where this no activity in the piece and re arrange it. :) You will be amazed what will happen. :)

True. There definitely will be some comments made though lol. Also, Rachmaninoff’s symphony is in the friendly key of E Minor, not E Flat minor.

"Orchestral players are not going to love it" 🤪 Rachmaninoff wrote this piece in the same key...Rachmaninoff's Symphony No. 2 / Vasily Petrenko / Oslo Philharmonic Professionals will be fine. Student musicians are the ones you have to worry about.

Looking at that key is giving me anxiety....orchestral players are not gonna love it. I wasn't familiar with the piano piece so I did take a listen to it to compare. I'm not a fan of the faster tempo marking....I think it zaps away the "nocturnal" feeling and feels more like a slow waltz at the faster tempo. Also, the piece as written by Faure is so idiomatic for the piano, that it invites tempo fluctuations/rubato that will be hard to capture in an orchestration without clear guidance in the score. And with that awful key!!!! Orchestrating this is a challenge. There is a lot of over reliance on woodwinds here....especially in the beginning. Without slurs and phrasing markings in the score and audio, it sounds a little sterile. Also wind players have to breathe....that flute line from the beginning to A is gonna be tough. Also, a lot of awkward writing in general (comments above already have highlighted some of these). Example below of the bassoons/contrabassoon before A...contrabassoon part seems wasted on high random notes, and the 64th rest (I think?) right before A in the 1st bassoon is dangerous: I think there are certain figures that can be better suited for string players: The figure above might be better for the cellos to play (with proper slurring and articulation written in). Measures 23-29 can be given to the upper strings. I think in general you have to be a little more creative with your orchestral colors. The whole thing from 86-93 is not good in my opinion. This is where you have to get REALLY creative to orchestrate that cadenza, and the way it is written now....having 12-14 first violinists play those fast notes (in that very ugly key) and then dovetailing to one piccolo player and back is not going to sound good. I think @Luis Hernández said it best in his comment: it is a little to literal "transcription" of the original piano work. It definitely needs a lot of creative changing to translate it to have an orchestra tackle it.

Thanks for the comments, as I am unfortunately out doing some errands, I’ll reply back or update this comment to answer your points mentioned.

Having read the program notes page, I think you capture the atmosphere of some of the themes (ie. betrayal, turbulence) you mentioned. It would be interesting to hear the rest of the soundtrack to see how the themes/motifs you have here develop. Though, I gotta be honest...film scores lately have a very generic sound to them and this (for me anyways) falls in that category. Some things musical things from the score I noticed: The way these harmonics are notated is confusing. I'm saying that as a string player. Some 2nd violinists might think you want an open E string, which I'm pretty sure you don't want. If these are actual sounding pitches, the 1st violinist would have an easier time understanding these notations (one is a natural harmonic, the other is an artificial....don't really have a preference): The 2nd violin note (if that is the sounding pitch) is impossible to play as a harmonic on a violin. As I said, players would probably play an open E string. The viola one looks alright, it'll be a natural harmonic on the G string. Saw this in the score a couple of times. Wondering if you could move the pp before the barline to avoid those awkward looking measures with rests. Overall, there seems to be over-reliance on doublings between instrument groups. E to the end is the prime example. I think most of the wind/brass instruments can drop out at 47 for a quieter ending. Also that section felt a little...static? Could use some more rhythmic drive (maybe bring back the bass guitar/cello figure from the beginning?) or just some counterpoint.

Entry: I do not what to put here? Melodies Themes Motives Harmony Chords Textures Form Development Structure Time Originality Creativity Score Presentation Instrumentation Orchestration Playability Execution of Given Challenge Taste 1 1 1 2 1 1 0 1 Average Score: 1 Review: Score presentation: The score was not well presented. You did not know what the instruments were playing! Playability: This is impossible to be played by anyone. Execution: this failed to meet the goals of the competition Form: This piece barely any proper form or structure. Taste: sadly, this is not with in my musical taste. (Note: It hurts me score a piece this low)

Entry: Amidst the Clouds & Flowers Melodies Themes Motives Harmony Chords Textures Form Development Structure Time Originality Creativity Score Presentation Instrumentation Orchestration Playability Execution of Given Challenge Taste 10 9 10 10 7 10 10 9 Average Score:9.3 Review: There were some engraving errors in the score I have noticed. Thorough out the score, you were constantly with the placement of expressions. And there was collision issue with one of the expressions. You have to make sure everyone can be readable and is constant! I personally enjoy the string harmonics throughout this piece! They create rich deep texture. Although this is out of comfort zone, it was enjoyable to listen to. It was with in taste for sure. I would not mind hear more of this!

I've been doing a compose everyday challenge and this is the miniature from Day 13. Probably the first piece from the challenge that genuinely feels like a complete character piece to me rather than just an experiment or sketch. So i decided to share it would love to hear what u guys think! YouTube link 13.mp3 13.pdf

Hello! This is a very very VERY simple sinfonia. I did it just for the fun of it as i'm quite bored, i hope you guys like it. It's a single section that's just repeated. In a real performance the instrumentalists would make diminutions on the second repeat for more variety. Enjoy! LOB 82 Sinfonia Semplice.mp3

Thanks everyone for all your feedback! That's all for now

I don't really know...I just like lush, full-sounding harmonies. O don't really need help for rn...I'm gonna take a break from the piece til August-Sept., and really study & get a handle on form before proceeding.

@BlackkBeethoven That makes sense now! That would be rather 20th century of you to have 9th chord. what is your harmonic style? common practice, 20th century, atonal... I can help you!

A FIRE WITHIN A RAILROADER MOVIE A Fire Within is a short film made solely in the video game, and railroad simulator, "Railroader," which released in December, 2023. Written by Mason Kistler in 2025, this story follows two friends, Sam and Andy, who work for the Southern Railway in the mid-20th century. Over the course of a few months, we see their relationship change and see their activities on the railroad. This project is an indie film, being produced for free and by the dedication of volunteers. It has an original story, sound design, voice cast, and soundtrack. It is something I have hinted at here on YCF, having shared two scores from the film; and it is a project I am very proud of. Now, I have come to share the results! Watch the Shortfilm here: https://www.youtube.com/watch?v=9Dk5nnrS1gw&t=843s Find the soundtrack here: https://open.spotify.com/album/5tJchNkg6fGUNrQs8oMHq2?si=7d9go3uQSbSMW7L6sDhZXg __________________________________ Unfortunately, due to my schedule and some travel arrangements, I am not able to share more of the scores for the Soundtrack at this time. You may find the two scores I have published for the film on my page. Thanks for viewing and I hope to see you all soon!

Tchaikovsky IMPORTATION TEST into system1.....................Not sure what to make of it. https://www.kunstderfuge.com/tchaikovsky.htm tchaikovsky_nutcracker_suite_sugarplum_71a_3_(c)kirschbaum.pdftchaikovsky_nutcracker_suite_sugarplum_71a_3_(c)kirschbaum.midTchaikovsky IMPORTATION TEST into system1.mp3

Yes a Decade ago........... i found this by accident under the... tag# "ATONAL" you state that this is NOT a formula.................what a shame, i saw it as an "Unbreakable-CODE" ................that could be deciphered I presumed the Horizontal first line reading, was the first 4 notes............ played in Octaves B-Gb-F-A = Atonal Chord ATONAL CHORD MATRIX.mp3 --I luv the way you used this concept in your Rondó (atonal) PIANO version I would like to learn how to transfer this concept into a Full blown Orchestra version as iv had requests for "BACKGROUND" music for certain Media-Outlets but i have to decline.........because i just cant figure it out. regarding The dodecaphonic matrix theres got to be a way to break the mystery Code of this concept from.................... "COMPLEXITY to SIMPLICITY" this was one of the Main reasons i joined this site.

Hello It’s been a long time since then… about 10 years! You see, back then I was in the midst of exploring post-tonal languages. I have to say that to compose with any degree of discernment in any system, you have to study it thoroughly. This was, like many other things from that era, an example of seeing what might come out of these twelve-tone matrices. I say this because many people believe that dodecaphonism and systems of this kind are like ‘formulas’ for making music, and that is not the case at all. Composers of this period expressed, never better said (the Expressionist movement), what they felt and translated it into this music which is by no means created at random. Trying to answer your question... Here I simply tried to follow the rules of Schönberg’s system once it had been developed: that is, all 12 notes must be played before they are played again, so that there is no tonal hierarchy. With that, you can combine the series sequentially, simultaneously, vertically, or in whatever combinations you like. At the time, I chose those combinations in an attempt to make it sound the way it does.

Hi! Today i'd like to share with you a small part of bigger work. It's intended to be romanticism styled. I know about variety of instruments used in this epoque and here are just strings, but at this moment, is it good? Harmony is clear, or unnecessarily complicated? Is there's too much/lack of tension? And how about double basses used as independed voice - little bit too risky? Better to keep violoncellos divisi and left them this voice? Or change double bass to bass clarinet? Originally i wrote on grand staff for piano, melody and harmonized it, but while translating into strings i've changed some things. In advance thank you for any feedback. sound bass clarinet version.mp3 sound.mp3 score2.pdf piano.pdf

Hi , ive been looking for this concept for a long time, but i dont know how to use it ? Do you have to COMBINE 2 or more of these chords to achieve the Atonality-Cluster ?

Kia Ora Henry, I will admit that when I first heard the original version of your Clarinet Quintet I did not like it very much. Blasphemous, I know. Everyone else on YC seemed to love the piece, and I just... didn't. I found all too much, which I suppose was your intent; despair is overwhelming or whatever it was. After listening to this revision, my opinion has changed. Or at least my opinion on the first movement, which was one of the two of the original I listened to. I don't dislike it anymore, but I don't love it now either. I think it's a decently good piece, but far from your best work. My favourite part of this piece is by far the second subject which if I recall correctly, is based on the dream motif. It definitely has this dreamy, hopeful, idealistic Romantic, feel to it which I really really like. I mentioned something similar to this to you on discord, and I'll rehash it here, I think it could work really well readapted as a waltz theme in an orchestral arrangement or something. I think it really contrasts well with the first subject (despair) and is a nice break from all the despairing going on before it. My least favourite aspect of this piece is... I don't actually know. I've relistened to this version and skimmed through it a couple of times trying to find something I dislike but... I can't find I hate. I think I will have to listen to this a few more times and get back to you. Perhaps it was the awful playback in the original post that made everything sound worse to me, I don't know. Again, I'll have to get back to you on this In summary, I think this piece has really grown on me. Or at least the first movement has. That second subject is absolutely my favourite part of the piece but I don't really care for... something, I just can't quite tell to be honest. I think I find this piece less over bearing now than I did on my first listen years ago. Progress has been made! look forward to hearing the rest of your revision of this piece. Maybe the latter movements will convert me, a filthy heathen who cares not for the Clarinet Quintet in C Minor, into a believer. Ngā mihi, Archie

How should the chord be voiced? It's an F#m9...I'm using the F# as a pedal tone, just experimenting with it a bit. Mind you, I haven't listened to any of this yet, so idk what it sounds like lol

My bad! :)

Hi! Long time for not posting anything! I'm revising my old Clarinet Quintet and learning orchestration in the process. Here's something I'm working on. Clarinet Quintet in C minor is a work I finished 4 years ago in 2022 which I accidentally began my revision of it in April 2026. It's a work in four movements and in it I want to share my feeling towards despair, dream and hope. The piece is dedicated to my friend Ms. Merina Fung. Speical Thanks to @Thatguy v2.0 for making the audio for me. Here is the youtube video of the movement: Here is the structure of the 1st movement: 00:00 1st subject, Exposition. Introduce the "despair" motive (0134), in some sort of sad waltz in C minor. The passage in 01:26 is directly copied from an old piece of mine named "Boredom" 01:48 Transition. Follow the tonal plan of the first movement of Tchaikovsky's Fourth Symphony and modulate to tritone major Gb major (which is the tonic key of my next major work, String Sextet in G flat major). 04:09 2nd subject, Exposition. Introduce the "dream motive" (0247) and subsidary chromatic motive of (0123). Conflicts of the despair and dream motives continue, the dream seems to win at 06:53 with its own climax but easily defeated with a bold C minor half cadence right before the close of the exposition with a forceful perfect cadence in Gb. 08:42 Development, part 1. The dream breaks expectedly I really like the counterpoint in 08:59. Modulates to E minor for the transition theme, then build to a really beautiful climax in E major in 11:10 which I really love. Makes this movement sounds a bit less tragic. 11:36 Development, part 2. Another false serenity after the beautiful climax by a disappointed passage in G# minor in 12:38. The serene texture returns in B major in 13:17 but falls short to a dominant preparation of C minor in 13:50. I really love the retransition as it sounds really passionate to me (Actually I love all parts of the remianing parts in this movement after this point). A review of the keys visited in 14:27 with an octatonic falling scale, ending with two sorrowful monologue of clarinet and cello, just like the beginning. 14:53 Transition. I skip the 1st subject reappearence in the recap as it's completely meaningless to do so, given how the motive is developed in the entire movement. I really love the tragedy here, as I even have this passage reappears in the coda of 4th movement, after 40 minutes or so lol. Another false serenity in tonic major in 15:24, and I really love the nostalgic sounding passage in Ab major in 16:01, still base on the dream motive. The German sixth chord in 16:36 must be stolen from Schubert"s Quartettsatz. A fugato in 16:42 trying to fight despair and reclaim dream once more and "sucessfully" modulates to Gb major once again. 17:31 2nd subject, Recap. But when you want more you hurt more, as despair harms you more when you have hope. This time a hard C minor half cadence comes. The dream theme now becomes a nightmare in 18:07 and continues to sigh. 19:20 Coda. Previous themes keep reappearing as I myself used to ruminate my sadness all the time. Finally it ends with what begins the piece, the realization of despair in its original form. Structurally I am not really satisfied with how I expand the themes in the 2nd subject of exposition (Dream part) and how I treat the materials in development, as I am afraid I overextend too much. However I just retain most of the things originally as I wanna keep true to my old self. It's an absolute low when I composed this piece, as I really questioned myself whether I could really compose something good back then. Luckily I did finish the entire work and gave me some confidence, plus meeting some really good friends here. The whole 4 movement piece is composed with three motives mentioned above, as I wanted to keep the piece coherent. The inspiration of the work comes from Brahms’s Clarinet Quintet as I wanted to write a more tragic piece than his (of course this goal fails), but I am happy with what I’ve done. Strangely only now do I find how Brahmsian this piece is. One interesting thing is that despite the movement is in C minor, in the first 14 minutes (two-thirds) of the movement, only 2 minutes are in the tonic. In this revision I mainly modify spots I find unreasonble, some voicings and slurs, and breathing spots for Clarinet. Hope you listen through the music and read through the description, and my wish that enjoy the work! Feel free criticize the work as I know it's far from perfect. P.S. the old version of this same Quintet is posted before: It's my biggest mistake to post an hour long piece here as my first post. So I will chop up the 4 movements and post it one by one now! Henry Clarinet Quintet in C minor 1st mov V3.mp3 (For YT)Clarinet Quintet in C minor 1st mov final 20260501.pdf

I didn't say that in the first place lol!