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I've been working rather hard on this piece and have a full movement of a concerto, I hope you guys enjoy and any feedback is welcome.

Well, not much to say this time. I've been seeking for parallels for over, like, 3 hours (well I don't really know how actually long) since I finished it until now, but there might well be too many my sight may hat übersehen (I'm not German but anyway, sometimes other languages are better at conveying quite specific meanings in instances like this one :D). So, without further ado, here it goes. Hope you enjoy it!

A prelude I have composed yesterday. I hope you like it!

Nice and playful. Only tip is to tidy the score up a little bit. Consider changing the crescendo markings from the scissors to just simply cresc…………, that would make a big difference.

Same here. It's all been said. If you want to write orchestral compositions you have to study orchestration which really means studying scores and doing lots of listening, finding out how composers produced the nuances in their use of timbre, dynamics and harmony. You seem to write tonally (basically) so it would be worth looking at harmonic progressions, modulation particularly so you can change key as your melody suggests, with ease. I doubt many here will agree but Beethoven is a great study source. For orchestration, his 3rd Symphony or possibly the 7th. His woodwind writing is exemplary (how he dovetails or stacks his woodwind instruments). I'm ambiguous about college teaching people to compose. I suppose it depends on the teacher(s). I did about 18 months and ditched it. Composing to a mentor's demand or for the sheer exercise might be good for discipline; it might be good for academic form but you can't teach people creativity. It could force you down avenues where you don't want to go. On the plus side you'll be surrounded by musical people and probably have live performance opportunities....that's when you start to learn. I ended up mostly with one-to-one tuition (which was more about guidance and criticism than instruction). Good luck!

I came here to see the post, and found this amazing advice with it. To have it put that way did resignify some of what I already thought I knew 🙂 As @Tónskáld already talked about harmony and form, I think I'll say my thoughts about the orchestration. It think this is executed too much as a bureaucratic task, as if you had to simply assign the lines you wrote to whatever instrument you have available, and not enough as a craft in itself. The way everything is doubled indicates that you didn't use each instrument because of it's specific timbristic character or because you think they will bring out the character of your ideas even better, but that you wrote a line, stuck it onto a group of instruments and moved forward. Having an orchestra this size, orchestration becomes a matter of its own, and it can single handedly make an average piece amazing, or the oposite. For that reason, I would recommend writing for smaller groups. You would have much more control of what is going on, while having more contact with specific instruments, so that further down the line you can use them effectively. As to being a composition major in college, I can perhaps help you with something. I'm going to the Royal Northern College of Music later this year for an undergraduate degree in comp, so whatever doubt you have about applying feel free to message me. That being said, the process in the US might be quite different when compared to the UK, but I'm sure they have their similarities too.

Very solid pieces, they can really keep the ear's attention. M. 30 of the Minuet sound aaaaawesome.