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The counterpoint is very impressive, so well done! I would have liked to see how the lyrics align with the notes, but I'm not sure if note flight is capable of that. I would definitely recommend musescore if you can fit it on your computer. It is free after all. The main issue is how you're writing for your forces. Violin octaves are a little unreasonable for a tutti section. It's too difficult without a good justification. I would either NOT have the octaves, or have the violins divisi. And the voice ranges are going into risky registers. There's a good short guide "ranges for choral singers: a guide for composers" by Chris Hutchings that's literally just a page and tells you pretty much all you need for writing for choral voices. You can probably find it online.

Hello folks! Been a little bit (always is a little bit between when I talk on here it seems) I've been hard at work at college writing all sorts of stuff, but amid all the music I'm writing and playing for school, I've also been working on a personal piece for solo piano. Dedicated to someone I love very much, the piece is an exploration of love. Movement 1 is the only movement written so far, and it is about passionate love (maybe I'll call it Eros. Still figuring out names or if I even want names for the movements.) I'll explain the movement's structure so you can maybe understand what I'm trying to do. Intro: It starts floating on an A dominant 7 chord, overtop of which soars a delicate but sometimes dissonant melody with huge leaps. It remains in this uncertain space a little while. Then it bursts into arpeggios and a fanfare-like triplet motif in F Major, gradually building more and more, before collapsing into the exposition. Exposition: The first theme in F minor is fiery and built from two motifs, the passionate right hand and the rumbling left hand. Cadencing in the relative major, the motifs then set off to transition to the next area. The second theme is in the distant key of D major and is a beautiful transformation of the melody from the introduction. A recurring turn motif brings the melody to its PAC and the closing theme commences with triumphant arpeggios (you will hear the inspiration from Chopin Ballade no. 4) but is suddenly overturned by D minor with the rumbling left hand motif of the first theme, ending the exposition dramatically in Bb Major!! Unlike I think literally all of my other sonata form pieces, there is no exposition repeat before the development. Development: In the soundscape of the exposition's closing chord, the developed introductory melody quietly emerges, again unsure, interwoven with fragments of the first theme. Eventually the second theme's rumbling motif takes hold, and a series of violent sequences commences. At its climax, it collapses again in a whirlwind. Out of the bleak, emerges now the second theme, in a hopeful manner, modulating from Ab Major to E minor, and finally culminating in the most passionate and beautiful variation in G Major, with repeated chords and heavy rubato. It reaches its turn motif and PACs in G Major erupting into the closing theme arpeggios, but now being derailed again, even earlier than last time into C minor! And now we're at the Fugue, based on the same rumbling left hand motif that's been so persistent in the development. After reaching its peak, it sequences a little more and is now in C Major and has successfully set up the dominant retransition to the tonic F minor! Recapitulation: First theme is mostly the same as before. The transition is however different and more "bravura" than before. The second theme tragically is now in F minor, and doesn't get its old turn motif to cadence, and instead prepares to close the movement in the drama of the first theme. But it's diverged! We move away from that extreme low register now into the highest register as we hear one last time the full second theme in F Major, much barer and more suspended, but again with its cadence motif. But it doesn't finish quite yet. It repeats the motif, before slipping back into an A dominant 7 chord for the coda. Coda: Largely an exact repeat of the introduction, but what was before a solid dominant pedal, is now broken up by the tonic in the bass, giving a more resolved sound. With no more burst into F major, the movement closes on low D Major chords. Now the reason I really want your guys' feedback is because I want to play this for the dedicatee soon, and I just want to make sure it's perfect before I present it to him. I did show the piece to my professor, but he said it sounded too traditional and suggested I listen to Sciarrino for inspiration 🥲 Let's just say I have different taste than him lol. The performance isn't perfect, and the score is very unpolished! But everything should come across pretty well hopefully. Thank you in advance! 😄

I think that's a good plan considering that the Ab note is a chord tone in both Fm and Dbm. But I do hope that during the Ab pedal note, the harmony that smoothly leads you from F to Db includes some dissonances with the Ab.

Nice tone painting so far the orchestration is really nice too A good job with the orchestration and combining slurred and staccato textures together. On mallet instruments it’s a fairly rare use to do doubles. Great job with the accel. Good with using the smaller end of dynamics. A nice with the double reads low double reads with this pattern of single notes staccatos Flexatone that’s really good good use in a professional setting for that. The textures around 105 is really good. I appreciate the dissonance and surrounding force surround it. I appreciate the English horn solo. And good attention to detail with the Bowing. I rarely see non-string orchestra composers incorporate, bowing directions in the score but like that’s good. Circa measure 180 maybe a few measures next there is a engraving error with the suspended cym part good job with voicing parallel fifths it gives the effect that is needed. Good job with this slower parts. solid ending and with full magnitude as well Anyways, I enjoyed this piece a lot. I hope you well and keep up the amazing work.

I feel that emotional writing in the 7th hits me.

@Thatguy v2.0 Here's my review on your prelude: 1. Harmony: The harmonic language throughout this prelude is lush, and beautiful. There are moments of chromaticism that create a sense of romanticism and yonder. Ex: b 26. I love how that sonority sneaks in and breaks the diatonic harmony. 2. Melodic material: You have established clear melodic motive the flows nicely with the harmony. 3. Character and tone: I feel that this piece is a romantic style prelude. Either chopin or Rachominov would have wrote something like this. 4. the score is readible and playable. Overall i enjoy it. 🙂

This one is a little bit minor, little bit dorian, kept it on the simpler side. 😄 I hope you enjoy, and as always all comments and thoughts are welcome!

I live in Hong Kong but never actually hear of this 🤔

Hello, community members of Young Composers! Hope you all are doing well - I speak on behalf of Musical Memories, an international nonprofit dedicated to providing students with an exciting and engaging way to develop their skills in the world of music. We have chapters all across the US and in countries like Hong Kong, where members facilitate interactive activities and performances. However, we also have an online tutoring program for those who are interested in delving into the world of music but aren't quite sure how to! Musical Memories' tutoring initiative is personalized, individual-based, and emphasizes the importance of constructive feedback. Our tutors are equipped with instrumental skills, teaching practices, and competencies to help a wide range of musicians. These tutoring opportunities are open to those of all ages/experience levels, with special emphasis on students! To sign up as a student: https://forms.gle/sSsCQChejhajsHon9 To sign up as a tutor: https://forms.gle/kVBw7TD5gvHuWUBQ7 Please don't hesitate to sign up, as we provide a judgment-free, stress-free zone. If you have any questions, feel free to reach out! Cheers to the power of music 🎊 In general, if you have any questions related to starting out on an instrument, how to join an orchestral/band community, or how to read sheet music, also touch base! 🙂

Idk, I still think the flow is off. Maybe its just a stylistic preference, but the cadences into rests, then starting back up again threw me off. I kept thinking the music ended, but then it kept going. It's nice as it is though, its a really great picture type of piece, like a tone poem. I just think it could have been shorter if you like it the way it is, to me its begging for contrast. Not necessarily something crazy, like throwing green paint on a black and white drawing. But for instance, your harmonic texture is nearly the same throughout. You change chords at the same rate, which makes it monotonous after a while. That can be fine, but we never went somewhere else, so it staled a bit to me. It was very pretty, and as always your coloring is fantastic. The sax is always a nice touch, and Im a fan of your style! Thanks for sharing bruh

Judging by the music, I'd say no lol Aside from that, the music is really cool! The delay effect is haunting, and you've once again woven randomness into a great piece of music. Nice work there Peter

Hello @JorgeDavid To me this rather sounds like Rachmoninov vocalise. You share the similar the melodic fluency that his did. Yes, I can hear the Bartok and Stravinsky. But, I am not sure how. The vocal line is beautiful; and the piano part is nice. It is nice piece overall. This would be great piece for a warmup.

I want something that is not miss leading. I.e. it is free to download but then you have pay for other things. Ones that are good or free, but i do not have to pay to for other services.

@Tunndy I agree with @PeterthePapercomPoser that entire composition should be in 6/8. You can easily phrase composition that way. Or at least 6/16. The accented beats are too obscure to read, and it would be hard to perform. I recommend understanding how meter works with music.

Thank you! @Henry Ng Tsz Kiu I wrote a new set following your advice.

Good afternoon, I have done some 1st species counterpoint exercise today. I thought it will be good way to start fresh as composer. You know, before tackling more complex forms. My goal is to do simple counterpoint through 5th species then doing moving on invertible counterpoint. Feedback as usually would help me out.

Sounds like a clichetic soap opera or cheap romance 🤪

Was still thinking of it, and will get to it, but yeah; life is getting ahead of me!🤪

@Churchcantor Figured I’d nudge ya regarding your thoughts on this score and what could’ve been done to improve it 🙂 Life gets ahead of all of us, as I’m aware. I’m sure this post went to the back of your mind after some time. No rush! Just didn’t want ya to forget about me!

Yeah, and also more advanced pieces in your portfolio will definitely help!

@PeterthePapercomPoser Thank you! I am planning to create website. Hopefully professional one: one linked to soundcloud and youtube. But that takes time.

Omicronrg9 started the fashion of making a portfolio page in the "About Me" section of his profile: Now Henry, me, and many other composers on YC use this section to display a press kit/portfolio of compositions in their profile.

I am trying to figure where should I place my portfolio? What's the best option?

I want to go from Fm to C#m, though Still easy, though

I want to go from Fm to C#m, though