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Hey, my name's Keifer Brown. I'm 18 years old and I started learning composing in, roughly, August last year. I've written mainly for string orchestra but I haven't had any of my music rehearsed live, so I don't know what my compositions really sound like except in a sequencer. I've been looking at this site for a bit and I decided to post a piece I've written here for critique as you guys seem to be really helpful and nice! :) I have attached sheet music (Veil Sheet Music.pdf) and an MP3 (Veil Render.mp3) for a piece I've written for piano quintet, called "Veil." Any advice is welcome! I look forward to joining this site's community as well.

I really loved this, great work! As noted above, at very rare occasions some notes feel like they're not in the place one would have preferred. I understand the idea of how they were supposed to sound, but it didn't sound perfect enough to do the needed effect.. I believe a simple revision would be all that's needed to fix these parts.

Absolutely. I have no defense to that You should! It's a really great combo because with good enough piano writing (which this piece does not exhibit) the orchestra can really be quite sparse. Gershwin's piano stuff do this a lot. I changed it during the main phase of my transition. So it was, yes, but on my modern scores, you'll see Blaire. Thanks for your comments!

Hey, I don't know the original one; I only really know TTYD, but from what I can tell, this sounds pretty good. I would be careful about so many octave doublings, simply because it opens the atmosphere of the orchestration rather than focus it which is what I think you want in certain sections, but I can't say much without having known the original. Good job!

Impressive! Well I love your stuff. This movement is so beautiful and expressive. Thanks for uploading. About your technique, who am I to say anything? I rather learn from you than make void suggestions. This language is very personal, an d I love it.

Lovely! I'm not at a proper computer right now so I'll leave some overall impressions with my limited ability at the moment; it's light where it needs to be, and lower when it needs to be... almost to the extreme. I don't want to call it clichéd, because it's not, but I think you can play with the audience's expectations more. lead in to D had a couple strange notes in it. Same with the lead into G I think. Instead of straight sixteenth/32nd notes in the high winds, perhaps use grace notes sometimes (not all the time) to drive energy a bit more but that's just personal taste. I think starting the low section (F) monophonically instead of homophonically took away from the energy. Since the parallel section is in counterpoint, starting with homophony won't take away from it. overall, fun piece, and good job!