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Anything about the book of Matthew, I love it. Critiques. This could be..and probably should be done with traditional String Quartet. Odd instrumentations tend to not get played. String Quartets ALWAYS get played. 24-7, 365; a string quartets are playing somewhere.. The arco might not be feasible in meas. 2. You may need to take out the E5 on the "e of 4" to make that arco happen. Also, I know you want it short, but....the rule of thumb for typesetting is don't use rests whenever necessary. SO, perhaps write the cello with eighth notes instead. It's just a cleaner look and easier to read. The equivalent would be writing you reading this sentence with all this space. It can come off as real gratuitous, convoluted. and byzantine.

Geistliches Lied 1 Golgotha fills with a shouting crowd: "We beg You — King of the Jews — now kneel and worship, now save Yourself." My sin, rougher than that crown of thorns, tore Him, and He gave everything — that love. He endured all mockery, all suffering, and walked the Golgotha of the cross, this Jesus. The Savior, Jesus. Jehovah-Jireh, the Lamb Jesus, the Redeeming Savior. Golgotha fills with a shouting crowd: "We beg You — King of the Jews — now kneel and worship, now save Yourself." My sin, rougher than that crown of thorns, tore Him, and He gave everything — that love. He endured all mockery, all suffering, and walked the Golgotha of the cross, this Jesus. "Father, why have You forsaken me?" My Father. Jehovah-Jireh, the Lamb Jesus, the Redeeming Savior — Jehovah-Jireh, the Lamb Jesus, the glory of resurrection — behold, Jesus. Geistliches Lied 2 The crown of thorns drove deep, piercing His brow, the whip tore His flesh until bone showed through. Let me serve You, Lord, alone, wholly, and let me live so. The nails pierced through, driven into hands and feet — that pain, the spear pierced His side, blood and water flowed, and suffocating, breathing His last, He died, my Lord. All the suffering He bore was because of my sin. I will not repeat my sin, but follow only You. By Your grace, forgive this sinner. My transgressions lashed Your back, my iniquity drove nails through Your hands and feet. In agony, Your love bled out, enduring the pain of bones wrenched from joint, looking up to heaven in prayer, and breathing His last... Lord, Your whole body broken and torn — I kneel and repent; forgive this sinner.

Hey!! The soprano is too far in the back in your mix. Perhaps lower the string volume and adjust the soprano so you will have a better mix! Also, can you give us a translation also if at all possible?

EVeryone has echoed my thoughts on such a wonderful piece. Just as a tidbit, look at Beethoven's Pathetique 2nd movement; he does some of the aforementioned suggestions. Beethoven sonate-no-8-pathetique-2nd-movement.pdf

Congratulations on completing this work! I think it turned out much better than before. I am also happy to see the process of creating it. I look forward to enjoying your work in the future! Best, Lithl.

"I've tried my best to correct all the wrong notes in the score, but I'm wondering if the problem lies with the virtual instrument or with the notes themselves. Has anyone experienced this? Will it play similarly without major differences on real acoustic instruments?"

YES SIR! I would love to do that. I am honored you ask. Give me about a week or so. I'm traveling a lot this week but absolutely.

Göransson is truly writing some good stuff. Giacchino is another great one too!

29 Nuclear Fusion (Trials of Mana Remake OST):

I feel I've done my work on this score now, and am going to be moving on to new projects. However, I would greatly appreciate any further feedback that anyone has / is willing to provide for this score, or, simply just opinions or statements regarding what you felt about this piece. Thanks everyone!!!

Welcome back! :)

= Lithl - Ominous Glass Shards = Hi, the following are piano pieces that use only the high register. I really appreciate any feedback: critiques, thoughts, constructive advice, etc. I will reply as soon as possible. Thank you for reading and listening. Best, Lithl. Shard No. 6.mp3 Shard No. 4.mp3 Shard No. 2.mp3 Shard No. 7.mp3 Shard No. 1.mp3 Shard No. 6.pdf Shard No. 4.pdf Shard No. 2.pdf Shard No. 7.pdf Shard No. 1.pdf

You are funny my friend!! Haha I love that cure for writer's block! 😆

This is what I meant, it doesn't always read as concrete as you may want it too. A lot of the material is very similar so it just all blends together.

My own small piece of advice when I have writer's block that I use daily. When in doubt, FUGUE IT! 😄 hope that helps

MY APOLOGIES!!! I should have been more specific. Yes, the flute run!

Hello again! Thanks for the comments. I welcome any critique as I would rather know if anything is ineffective or not, so no worries on bluntness lol. I must admit, it has been a few months since finishing the score and as I was reviewing your comment, I find it hard to consider other changes at this time. With that said, here is my reply: I omitted the snare at rehearsal B to try, however the sense of drive, while being in the tenor instruments, felt too expansive when listening to the rest of the ensemble in context. For me, I felt it appropriate to ground the ensemble with the driving motif using a snare. I can see your point at mm.34. It's an 8-bar parallel period, however, because of its symmetry, I am having a hard time hearing any other changes without disturbing the structure. If you are able, do you have any suggestions to amend that? I was curious about how wind players will tackle the work. In some spots, like mm. 75, aka Rehearsal J, with the trumpets and oboes, I have a set of replacement passages ready to go to add a spot to breath within the phrase. If I am able to get it performed within the next year, I wanted to see how the OG score will do and if I notice moments of space due to breathing from the ensemble. From there, I have backups ready for a late version. I must admit that I am confused by the rehearsal K comment. It is in the development and I recall the 8-bar parallel period from mm.25 in a different key. The phrase concludes on beat one at mm.91 with a PAC to Bb-minor. It is elided with the start of the same melody and phrase from mm.43 in the new key. However, did you mean this comment specifically in the Flutes? If so, then I agree with you as in hindsight, it seems more concrete for a player to carry the gesture through beat 4 into beat 1. Thanks again and I do hope for some progress in the near future!

Hi Guyz.... in the "About Me - CONTRACT" Link, we've since been given |Permission-Release|to re-post certain criteria , which im pleased about.

Hi Guyz.... in the "About Me - CONTRACT" Link, we've since been given |Permission-Release|to re-post certain criteria , which im pleased about.

@BlackkBeethoven The original piece is just the first section (approx. the first 2 minutes). Minimal editing was done between that and this; I just expanded upon the ideas in the first section to create the subsequent ones and then tacked on an ending. Explicit repetition doesn't occur until the 3rd section, but I guess it does come across a little bit as "Duo spends 8 minutes noodling while trying to decide on what key to play in" at times. @MJFOBOE I apologize about neglecting consideration for breath. It was something I thought about, but I will admit it wasn't at the front of my mind the entire time, so I probably missed something. As for my intent, I was trying to see what kind of story I could tell by developing the harmony. You may notice that it starts out with a dodecaphonic figure that moves through a couple of other sounds before ending on a cadence that mostly evades the resolution to the target key. Sections 2 and 3 expand on some of the ideas in section 1; the final section is all about delivering the resolution that was set up at the end of the first one.

At the peak of the song (my heart will go on) before the guitar riff there's that crying sound, idk if it's a synth or a violin, but it just sounds so beautiful. if anyone knows what it is please let me know.

Great job!! I enjoyed listening to your piece, and I don't have much feedback, but I'll start with this : WRITE MORE!! This has the potential to be even better than it is now. I know it's for an assignment, but if you have time, I would consider adding to it. One thing I noticed is how stagnant most of your parts are for the majority of the piece, your contrabass stays on pedal tones, and your violin 2 and viola stay on double stops pretty much the whole time. Which isn't a bad thing, just something I noticed - they could be more active and have more movement, while still supporting the harmony. Something else I would add is getting away from the clean breaks between ideas. For example your viola plays repeated notes until m.8 when they switch to another rhythmic idea, maybe there's a way to hint at this before the idea comes in concretely (this may be something you explore if you decide to add to the piece). Great job & happy composing!!

What was your thought process behind creating this piece? I echo the above user's comment about posting the original piece so we can hear all the sections together. Despite the changing meters and the different interactions between the oboe and bassoon, your piece needs variety in my opinion. It kind of feels like the same idea restated a bunch of times. Each section has some slight development, but overall, it feels like "Oboe does this thing, then bassoon does something, repeat". I would love to see these instruments used in a more lyrical way.

Some serious chops showcased here. So since this piece is so well put together, the criticism may seem harsher. My intent is not to be that but give deeper insight since you know what you are doing. Reh B: I wonder if we would get more of a flight feel if the snare wasn't here? Then maybe repeat it with the drums. At 34, I would argue the climax comes WAAAAAAYYY too soon. I wonder what would happened if you would delay it for about 6 bars....or even two bars. Be mindful of where your woodwind players breath. Some of these passages are calling it. Reh K: Usually passages like this are ended on the downbeat. It's a trick Ravel taught all of us! Notice how he ends the phrase on the down beats. It gives it more connectivity. Even if you don't want it, it syncs better. (Example Attached) Overall: I can't wait to hear this live! Daphnis and Chloe woodwind run example.pdf

Please post link to the original work (for comparison). Be aware - the Oboe and Bassoon need to breathe! As for the thematic material ... I don't get it 🤔. Please explain your intent. Mark