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  1. Today
  2. Thanks! It's all done. I went over the piece and those thins have been corrected, but I didn't change the video in order to see those mistakes, in casi any other people listen to it.
  3. Hey! That's really nice. I'd just point out a few things. I'd say it's important to write how many musicians you expect to play this piece, and what every one of those will be doing at every moment. That's just because it can really save efforts from orchestras that eventually decide to play this piece. It's also a good exercise to properly visualize the piece. Also, I'd put some dynamic markings throughout the piece. It would help real musicians visualize how they are supposed to play. MIDI can be grat to give us a "preview" of how the piece is going to sound, but if you don't specify to the musicians how you expect it to sound, it may come out as a completely different thing in the end. Also, you may want to expand this later, add some contrasting parts, etc. It may help the listener to feel like it's a complete piece. One way or another, I think this is really enjoyable and would listen to this in a concert. Best of luck, Jean.
  4. Hey! I just find this piece very enjoyable! I'd recomend listening to Egberto Gismonti as your style reminded me of some of his pieces. He's a Brazilian composer pianist and guitarist, and I'd recomend his album "Infância". I believe its available at spotify, apple music, deezer, etc. Might be great inspiration for your next pieces. Best of luck!
  5. Hi, Em! This was a great melancholic piece and I enjoyed listening to it! It seems to me you start the piece in A major and end it in D major, but I wouldn't worry too much about it. You tend to "color" your major triads (at least the tonic and subdominant) as maj7 chords, so this piece never seems to have a home key—it sort of walks in the neighborhood of A/D major and their relative minors. I like it when songs have this ambiguity! The repetition didn't bother me, as I don't think you were going for a strictly classical feel. To me, it sounded like a pop/classical hybrid—maybe even something from a movie—so the repeated phrases seemed to belong. I will mention a troubling bar or two from the score, if that's ok. In m48-49 you have the RH playing a sustained F# while the LH is supposed to hit that same note a few times, too. This, of course, won't be playable, so that passage may need to be adjusted. I think you definitely have talent as a composer! Your musical form will become more structured the more you compose. Keep up the good work!
  6. I was thinking of using this as a theme for a theme and variations piece but not sure if it fits that sort of thing. Any ideas if this is acceptable, or what needs to change? Thanks for any feedback.
  7. I doubt the title "Romantica" is proper. Sure, there are emotionally tinted momentums such as "string chorale" throughout second minute but it is more varied in use of elements. The music itself is surprisingly original, I cannot pick out all these influences. They are well hidden, which is good job. Perhaps the closest comparison might be with "Arioso for strings" by Finnish composer Paavo Heininen. I really like these dissonant clushes between strings and winds. 🙂
  8. I probably cannot express it properly but I believe the use of traditional forms is recently quite "strict" in terms of following 18th or 19th century sonata form (more likely 18th century since my sonatas don't last 30 minutes or more). The musical language itself of course does not follow 18th century tonality relations between different subjects but it is used freshly, with all available sources. 🙂
  9. I consider this choral composition as my best since 2015. I was really lucky to find the right momentum to use the text which is frequently more suitable for lyrical and quiet expression. I instead used it as a symbol of joy and eternal happiness. I am not attaching the score since it is used in the video I wish you pleasant listening and feel welcome to comment. Thank you!
  10. This is a Gloria movement from a mass I am working on at the moment. It is not finished yet but I would really like some feedback in regards to orchestration and my contrapuntal writing.
  11. Yesterday
  12. Thanks Louis and Monarcheon. I will revisit the violin part. I was listening to some Beatles songs, that have the song, 'dis-assembled' (that is you hear solo'd parts, bass only, rhythm guitar with licks. . I notice that the individual parts have a 'wholeness' by themselves. They make a statement. When I listen, especially to some of my earlier pieces. The individual parts, solo'd sound 'wandering', like they don't know what they are supposed to be doing, They fit. but sound kinda 'lost'.
  13. Hola Luís, muchas gracias por tu comentario, me halaga que compares mi obra con el estilo de Haendel, que es mi compositor barroco favorito. Hi Luís, thanks a lot for your comment. I'm flattered to be compared with haendel style, who is my favourite barroque composer.
  14. @bkho and @ChorSymphonica, thanks a lot for your comments!
  15. I love this piece. It's as if you had brought Bach to Philip Glass. I has a baroque scent but very modern.
  16. What does the track title, "Way", mean? Nice string sounds, your samples are pretty good. The "droning" low strings works well with everything else on top of it. @ 1:18 I love the percussion, it's well balanced and well used. I think the second time we hear that rhythm pattern it would be nice to feel a change, and every time after should have some sense of direction. You're doing things in the other parts, but are ignoring the percussive loop. Be careful to pay close attention to every part (as if you were performing it) and find moments where you could use each part to a greater purpose, through playing or resting differently. Good track though, I love the main melodic idea and the textures you've created, very "fantasy" like and very cool! Gustav
  17. Pretty typical of what I would expect to hear from something apocalyptic: (1) aggressive percussion, (2) aggressive articulations, especially in the strings (3) doomsday choir. Believe it or not, it feels somewhat restrained to me in terms of the phrase direction and the levels of the piece, like everything's always the same volume and that's medium loud. I don't think the apocalypse will be "bang! boom! explosion!" all the time, and sometimes the silence before an event is actually more terrifying than the event itself. Play around with phrase direction and pacing, guiding us with builds and releases, and explore more of what you could do with the quiet range of things. Not bad, though, just keep working it! Gustav
  18. Agreed with Monarcheon about re-capping the theme. I think if you found some little riff to bridge the ideas from the chromatic build to the main idea that'd help. I'm not sure it even needs to be related directly to the main idea or the chromatic build, but something more like a "friend of a friend" who walks into the room and everyone's like "Heyyyy!!!" ... ish? 😄 Your sounds are great and the sections themselves are good, though! Gustav
  19. Thanks a lot! I also not so long ago discovered this forum. It's a really good place to share compositions with other people!
  20. I love bach and this is my homage to him. Instead of trying to imitate his gorgeous fluid counterpoint, I went ahead and put my own spin on it by allowing the other voices (mostly found in the left hand) to shine and intrude as percussive "sound effects". I call it Endlessly Partita Also haha, a sub to my channel would mean the world to me :) https://www.youtube.com/watch?v=LQi-0BUK_WQ
  21. I was just about to repost it reworked some, needs some balancing, but here it goes
  22. I'd say the horns and strings will work well together. I think the space between the last two notes could be spread out more. It would be a nice contrast to have notes held out by the horns while the strings are playing, in my taste. I would be interested to see this fleshed out into a full song. Thanks for sharing!
  23. I've gone back to this piece to look at patterns and structures in what I tend to make. So far I see simple melody but colorful chords and dissonance in the music, ostinato in the bass and syncopated rhythm throughout. The key signature in the sheet music is my best guess at what it might've been, but I do hear there might be modulations. I tend to move away from main idea but bring back the idea at the end or throughout. Lots of repetition, this may be something I should hold back on in the future. I am very interested to know why this song works or why it may not work. I have the feeling that the melody never rests on what might be the home note, which makes it sound ambiguous. I think. Thank you for listening. Feedback, if you wish, is greatly appreciated.
  24. I agree with Luis, very Rachmaninoff-ish. I love it!
  25. The strings volume is thrown off from previous loop, was more interested in seeing about the Horns melody and if it blends.
  26. Last week
  27. Hi! I'm not a very experienced composer, and am also working on one of my first sonatas (for oboe and piano), so take my toughts with a pinch of salt. First of all: the flute isn't able to play loudly at it's lower register. I'm unsure at what exact point it starts to become unusable, but some moments (m34, m 42) use the flute's lower register quite a lot. In m 34 it even asks for a crescendo, so I'd say that this part wouldn't sound as you would imagine. One way or another, that doesn't mean that you cant use the it's low register, just keep in mind that it will be very low in volume. May be useful for acompanimental lines, etc. I'd say that the safest register to use is from C5 and up. Also be careful not to get too high up, or it will become unberable to listen to, as it's too high for our ears. As you said that your being inspired by Haydn, I'd also like to check upon the scalar, repetitive passages. Instead of going up and down the scale, you could introduce a few non-diatonic notes, maybe quickly tonicise on another closely-related key, and go back to Eb. That would catch the listener's attention for a moment, and if you manage it well it may sound very Haydn-esque. (I had an example in mind, but I couldn't find it.) The last thing I'd say is that the motive that starts on m6 on the flute could (in my oppinion) be improved by adding a 16th note at the end of the scale run. As it is right now, it sounds a little like it was cut short. One way or another, it does sound pleasing to me. I'm looking forward to see how it turns out!
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