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this is a piano arrangement of a Christian hymn written by me, hope you like it the video: https://www.bilibili.com/video/BV1Ya4y1p7zh/

Hello people, I will introduce myself. I am a piano player from the Netherlands, currently 18 years old. I have always improvised music, and never written any music. I also have almost no knowledge of music theory, so go easy on me 😉 . What I am uploading today is some themes I improvised today, but I have modified them slightly and improvised some middle parts because the themes are not in the same keys. I will take any feedback in high regard. P.S I have not included any sheet music because I can’t read nor write sheet music.

https://www.youtube.com/watch?v=AyIq_apZTZc&feature=youtu.be Aditya's new tune composition for review, not sure how to convert it to notes in pdf files

Beautiful and with nice texture, especially with the bass lines, and the melody completes the bass line well in the texture, nice playing. Good articulation. Although some of the chords or notes doesn't fit in, for example 00:59, 01:07, 01:33 (pedal?), 01:44-01:47 - in modernistic music it could work but not within this style. It's also better to begin the piece with a tonic, in my opinon. Aditya is very talented. Keep it up!

Ha, I really like that I just made a ripoff Mars. Holst, Debussy, Rach, and Prokofiev were the composers I did not know how to replicate, so I thought it would be funny to make the Holst Hell sound like that. I will list out what I was thinking of when writing for the different composers and where the inspiration came from. debsuussy - no idea actually Poulenc - His Sextet, and his clarinet sonata. I think the horn moment sounds like something from his sextet, and the woodwinds + string dissonance as well. Rach - lmao I don’t know on this one. I just thought the clarinet/piano run sounded like his 2nd concerto a bit and the strings in that concerto have the melody so idk it was a lazy attempt. Holst - literally just Mars Mussorgsky - semi Pictures, but that and Bald Mountain are the only things I have heard from him Adams - Chairman Dances, Lollapalooza, and just my own love for him Prokofiev - I looked up one Children’s March before writing, and also I like his last movement of the 8th Piano Sonata, which is where the odd meters came from Ravel - a lame version of the intro of Daphnis Suite 2 Stravinsky - the Rite, as well as my love for him

Just responded to your last piece. Ah well I played the guessing game with my girlfriend when she came over and it was fun, so I thought to at least add it here. Stravinsky, especially Rite of Spring (being one of my favorite pieces ever), are embedded into me and my writing. My style meshes from my love for Stravinsky, Adams, and Poulenc specifically, while trying to be as unique and cool in my own way. i agree on the Debussy. I think that one is the lamest of the 9. I did spend very little time on that one, though. I use Dorico + Noteperformer. If you want to send me your Mozart piece in .xml form, I will plug it into Noteperformer and send you the audio.

Hi Olov, What a cute little piece with an easy to follow melody. As I am sure you heard when listening to my piece earlier, we have completely different styles. I do appreciate the nice baroque/classical sound here. I listened to the middle recording before the youtube video, and the only things I disliked were my general feelings towards classical era music, and the cello doing the eighth note at the very very end. I feel all the instruments should end together, and that part stuck out as weird to me. Kudos to this piece though!

Thanks! Yeah, I enjoy Hisaishi's music too, his tunes are so catchy! Yep, I get that criticism a lot lately. I'm working on it, slooowly 🙂 Sure, that'd be great, actually (if you can decipher my messy score 😅)

That was certainly so much cooler than I was expecting. Your singing added so much to this!! Really, I feel what you say is “sub-par” really adds to the atmosphere of this creature being alien, with some of the off-pitch notes and strange “lyrics.” I half expected a THX glissando from the orchestra at some points lol. You should find a way to include that in your score/writing, as it adds to the uniue atmosphere you’ve created a lot. Keep writing, friend!

Your flute and oboe duet sounds great. I've used woodwind duos before too, but usually of these types: Flute + Bassoon -> Sometimes if I'm trying to evoke a pastoral scene in a chamber ensemble, I will use the combination of the mellow tone of the flute and the warmth of the bassoon Flute + Clarinet -> These 2 are most similar in dynamic terms, although a clarinet can get up to forte in the low register, which the flute can't(I've heard from several sources that the loudest possible dynamic for the low register which goes up to A4, is mezzo-forte and that if there is forte written down there, it's understood to be a relative dynamic and not an absolute dynamic), but both can acheive an extremely mellow triple p dynamic down there Oboe + Bassoon -> Sometimes if there is a piece that involves all 4 woodwind families, I will have 1 movement for double reeds exclusively I've never really combined flute with oboe in a duo because I would always be in a state of: Because I know that the dynamic tendencies of the 2 instruments in the low register are exact opposites, flute tends to be quiet to the point that too aggressive string playing, not to mention oboe presence can overpower the mellow flute(in fact, I often see orchestral density go down to 0 woodwind accompaniment(or maybe a quiet clarinet or bassoon at most) and pianissimo strings when the flute goes into the low register in an orchestral piece) whereas the oboe is super loud in that same register, too loud to play a piano dynamic down there(not much of a problem with the English Horn, a lower pitched cousin of the oboe, at least until maybe the lowest few pitches(similar to Bassoon in that respect)).

I really liked this piece, it sounds great! Wonderful, expressive melody, and I really like your mode mixtures in the harmony. The chromatic descent in bar 25 gave me major Joe Hisaishi vibes (Hisaishi is one of my favourite composers). Loving the unapologetic key change as well 😋 My only criticism is that it's a little too repetitive – both in terms of the melody and the accompaniment, but especially the latter. I think it would be an improvement if you changed the melody a little at times, and tried varying the rhythm of the accompaniment. Also, perhaps this is just my preference, but I feel like this piece deserves a full symphony orchestration. In fact, I might like to try orchestrating it one of these days, if you don't mind?

Thank you all for your comments! I'm glad that you enjoyed the piece. I'm especially glad that PaperComposer mentioned mm. 72-76 in the third movement, since this was a bit that I was especially hesitant about and wasn't sure it would work. I haven't written any strict fugues for a long time, though I use fugal passages sometimes. I am working on some more flute/oboe duets in this style, though.

Wow! What a unique story which is also very culturally appropriate! Your singing is literally out of this world in this one! You are very convincing as an alien I must say. I hope you don't get embarrassed later and take this down - I'm still wanting to listen to that "Pure Imagination" remix you did. Great concept and idea to make this a song - very harmonically rich too!

Wow! I really like this new version and tempo much better than the original! The middle section of the piece is much better now as well as you replaced what you had with a nice legato contrast with oboe punctuating certain beats - it works very well! Great job!

So how do you come up with a melody? There is much literature on harmony, counterpoint and orchestration etc. but the craft of writing a good melody is still mostly a mystery (although I'd be very glad to have someone correct me here if I am wrong). There are of course plenty of Youtube videos about how to write a melody which you are free to share here as well. Composing a "long leading melodic line" is harped upon by many as being very important especially in music of the classical and romantic era. Mozart said that "Melody is the essence of music" but do you really even need it? Some composers while still writing melody use it more as the jumping off point for some of the other features of their music such as virtuosity most notably. Others choose to subjugate traditional melodic expectations and write only harmonies or tone-color melodies (or shimmering pointillistic textures as melody). Finally, will melody ever be exhausted? Is it possible to use up all the permutations/combinations of tones and rhythms to the point that there would be nothing original left to write?

Hi Of course there is literature on melody, mainly focusing in classic periods. From the classic The Melody by Ernst Toch until many books on counterpoint explaining motivic manipulation. I think melody is a column of music, with rhythm, harmony, etc.... A piece of music can be valid when one of these elements is not there (or almost). Of course it is no needed if your composition goes other ways. Contemporary music is full of music without a melody or a clear one, or with a mastering of textures instead. Yes, there will always be a voice leading, but the treatment is differente. Bellini: the best melodist. I don't think so. Now we have microtones. Sometimes I have uploaded pieces of this kind...... Reaction: there's no melody!...... (What if I didn't want it!)

Well done, perhaps up the music volume a bit!