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Hi @Alant! I listen to your revised version with your real performance. The first section really reminds me of Liszt Consolation plus Schubert op.90 no.3 plus Chopin op.25 no.1. I love how you change the texture and accompaniments for varities, at the same time maintaining the simplicity of the music. Lovely music and lovely playing as well! Thx for sharing and your updates! Henry

Hey @Mooravioli, I relisten to your waltz and man there's so many bittersweet moment here. The opening LH figure reminds me of the 2nd mov of Chopin's 2nd Piano Sonata. Very nice change of register in b.83! Like the improvisation at the end too! Thx for your update! Henry

Hey Pabio, Out of the meaingless drama, let's move on to the music itself: I enjoy this one thoroughly Pabio! I feel like you are really allowing yourself to express yourself fully here. The most lovely thing is that you still maintain your control of counterpoint and you are really using those counterpoint for great emotional effect here. All the dissonances are so well handled and I love all those Mahlerian dissonances, and to be honest your prelude here really reminds me some of the first movement of Beethoven's mop.131 with the sadness and tragedy you portray here, It also reminds me Ivan's great prelude posted not long ago: Thx for sharing this great expression! Henry

Hello @Jonathanm! Welcome to the forum! I really really love your modulation in b.8, so beautiful!!! I love b.9-15 too, and also the A section itself, however I think the transition from the serene passage before it can be longer and more well-prepared. Again I love your modulation to Ab major in 1:53! I love your transition to section D, very well done, and the bass clarinet is greatly used there! I love your cor anglais in section E too, and also when the flute join and after that the strings!! The all strings passage after feel so warm to me. B.90 passage is wonderful with the harp and the texture is very rich. The cello melody plus flute countermelody in section H sounds fascinating as well, and I absolutely love the b.133 passage after it! The climax to J section is really well prepared here! And a lovely peaceful ending! Your ochestral and harmonic colour is really really well done, congrats on that!! I really love how you allocate melodies to different instruments for their own timbre. Maybe for me the only shortcoming would be the coherence, since I feel like the whole piece is beautiful but the ideas are all new in each section for me. Nonetheless, this piece is very well done and enjoyable, congrats on that! Henry

Hi @user011235! I like the classical style sonatina, very Mozartean. I love the energy in it. For it I would probably stay long in a single key in the development section like you did here, as the music lingers in Bb minor b.21-47, almost the same length as the repeated exposition! I would probably keep modulating for more harmonic moving forward. The 12th interval in the LH of b.31 would be too big for pianist to be played together. I would also prevent the augmented seconds such as in b.35, since it sounds a bit weird under a classical style sonantina personally haha. The retransition in b.54 is quite short for me as well for a dominant preparation back to Eb major tonic! Despite being nitpicky I like this. Thx for sharing! Henry

He was also criticized for not writing very well/idiomatically for voices. Critics said that he wrote for voices as if they were instruments. Probably accounts for why he only had one opera!

SU-PAR Let me be one of the 1st to congratulate you on a MOVIE-SOUND compostion...............Well done Johnathan. "Bachelor in music"................. My God , you must be extremely Intelligent........that's something i could never achieve.

Another piece from 2018, in a style that... well, i'm not really sure. It's got bits that sound classical, bits that sound romantic, and to me some portions even sound more modern like new age, folk or pop. I wrote it in 4 days so everything kind of just flowed. What do y'all think? Any feedback is welcome

Lmao! Your own B-A-C-H motif, perhaps? 🤔

That's what would make it fun for teachers to inflict it on their students. 🙂

@Henry Ng Tsz Kiu @PeterthePapercomPoser Thanks you guys, that's helpful to hear. Peter i didn't know that about beethoven! Wow even he had insecurities

Yeah Thinking functions are the weakest for INFP so it would be really to build up theories for you guys, unless your mind tell you you must learn those theories or you love them, then you would really learn them well! Given the secondary Extraverted intuition keep exploring new music and getting insights by brainstorming would really help you find your fav. theory learning method! Btw. I guess there are a lots of INFPs on the forum as well! Henry

Haha thx! Tho here it repeats more than usual for humorous effect, as a joke told more times it should it becomes a lame joke!😛 Henry

Excellent! Needs to be given to beginning music students so they can learn to follow repeats. 🙂

Hi everyone, I composed this piece as part of my bachelor in music. I hope you enjoy it. Leave a like or a feedback if you want! 😊

Thanks a lot Henry. Appreciate the comments. Yes INFP, so not only introverted feeling, but that combined with extroverted intuition. It means the intuition is naturally stronger and the capacity to learn theory is naturally weaker, so for me it's a choice between going against the grain and trying to learn in the conventional way anyway (which would likely kill my process), or try to find a different way (difficult as it's so rarely talked about....).

lolol

Hi @guy500! I find the production of your video really nice! Also, nice face reveal! For the practical side I actually take your approach exactly. I write to learn instead of learn before write sometimes. For example I only learn how to write fugues when I tried a five part fugue in the 3rd movement of my Clarinet Quintet. I think only by writing you will know what you really need to learn from those theories. Although I love music theory myself to be honest haha. However, learning theory and using them in composition is completely different things. You have to be so familiar with those theories so that when you compose you can forget them completely and use your intuition (guess what, my MBTI is INFJ and so my primary function would be introverted intuition, as you mention MBTI in your video) to compose. That’s why I think learning theory, no matter drily or with love, is crucial. I guess you are an INFP because you weigh introverted feeling so strongly in your video? Thx for sharing btw! Henry

lol

I've really struggled to get my head around music theory - the way it's currently presented - since I started composing last summer. So, I've been giving some thought as to alternative ways of presenting it that might make it more accessible to new untrained composers, especially those who use DAWs and samples rather than manuscript. This video is meant as an exploration only - not suggesting better or worse approaches, or taking a position - only considering alternatives that could work for some people. Hope it's helpful. https://youtu.be/O_SSqvaVKDA?si=QXuksfXovuawS3Tf

Everyone is different and it's likely that John Williams is understandably perfectionist, and his insightfulness allows him to see what he could have done better. Being human, that's likely to lead to some degree of self-criticism and regret. My tendency is to look at things a little differently. I don't see any flaws in any music, including my own. That's not to say there aren't plenty of ways to improve, but ultimately, the music was that person's best expression of themselves, to the best of their ability at that moment in time. That different strategies or ideas could have been used is not a flaw (the way I see it), but a springboard for future improvement. Just yesterday, I was listening to the first ever piece that I composed from last July, which I don't think I've listened to since then, and I was expecting to cringe. Of course, I heard many things that I'd do differently and more effectively now, but I was struck - shocked even - by how much that music still resonated with me. Like you, I could hear many of the "flaws" (I don't really think of them like that - just as if you see a painting by a small child, you don't see it as flawed compared to Rembrandt, you appreciate it for what the child put into it), but the essence of any music can transcend these. If we can keep this more charitable outlook on our own and others' music, I think we'd be happier overall, as well as improving faster. I like your suggestion that trying to create the next masterpiece is unhealthy, as it's most probably about striving to create something that meets others' expectations or criteria rather than simply looking for the most authentic form of self-expression. I think that if we pursue the latter, it will be a more effective way of driving the search for improvements and expansion in our composing without the self-imposed pressure of feeling the need to prove ourselves.

instruments: Shakuhachi: Japanese bamboo flute Nokhan: a kind of Japanse high pitch flute like Piccolo Shamisen: a kind of plucked string instrument with 3 strings Koto: Japanese version of Chinese Guzeng as I don't know how to notate Japanese traditional music, there is no score here all in all, hope you like it! the video: 【日本民乐】作品8之1 无标题_哔哩哔哩_bilibili

Midi-Testing : ⬛ 𝑰𝒎𝒑𝒆𝒓𝒊𝒂𝒍 𝑩𝒐̈𝒔𝒆𝒏𝒅𝒐𝒓𝒇𝒆𝒓 | 𝑩𝒆𝒆𝒕𝒉𝒐𝒗𝒆𝒏 / 𝑫𝒗𝒐𝒓̌𝒂́𝒌 / 𝑩𝒂𝒄𝒉 1: Beethoven - Moonlight Sonata (1st Movement) 2: Dvořák - Humoresque No.7 3: Bach-Badinerie-flute-piano

haha thx! The ending four note is a quote of the tonics of each the 4 piano pieces of the set! Henry

Fun little piece. I especially loved the middle section with the change of tempo and key. The ending? Really sounds like a joke!