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This one is for this sad 2020 Christmess. Music & Production by Syrel Photography by Syrel

This is kinda weird to me. Yes, an experienced pianist will consider your fingering suggestions, but at the end of the day, they will play it in the way they can execute it the best. I doubt it would confuse them. For someone challenging themselves to play your piece, if it's a bit out of their skill range, I personally would appreciate the composer notating a suggested fingering. I feel like there's no right or wrong here, and ultimately you have a much greater insight with your own piano teacher (trust me, I don't pretend to know everything about piano). But to someone like me, I'm always appreciative of a suggested fingering, whether I choose to use it or not. But that's a different piece! I just thought it sounded really cool, and for me, if I ever introduce something new to the music, if it's an idea I feel like is very strong (or developed) I would want it to be more prominent. No biggie, some people prefer sharps over flats, others prefer the opposite. Whatever helps you think about your music. Mwuahahahahahahaha that's what I'm here for. But in all seriousness, those who care enough about your music to tell you what they dislike and like are your greatest asset. Consider what we say, but ultimately do what you desire to do with your art.

Hey man Dig the vibes on this one. I've recently listened to a lot of this dark-trance type of music lately, even with an industrial feel, and your piece kind of sounds like that genre. Maybe it's that, maybe it's more video game soundtrack? Either way, seems like you have a good start. Since this type of music seems to rely so much on layering, I would consider different ways of going about this. For instance, maybe have some of the layers stretch out 8 bars and be really slow...or perhaps have more variation in the types of sound samples you're choosing. I really like the guitar parts, but they feel like fills and drone notes more than actual parts. Maybe some kind of melody in the guitars would go nice over the synth? Or some more variance in the chord progression (I know a lot of that stuff is static, but I just mean choosing more than one or two chords for it to me playing). Anyway, cool stuff! I like the style, and like I said I've grown more accustomed to this type of music recently. I would scour Youtube or any other free source that offers advice with writing music of the kind you desire; you'll find a never-ending plethora of knowledge and information vital to your growth as a composer and musician. There's lot's of ways you could continue to improve this, even if you don't consider any advice I or anyone else here gives, that could help you. Adding filters, more dynamics to your layering, etc. etc. Stick around my friend, I see you've posted only once (this post) so far. There are loads of talented musicians that meander here from time to time that if you share a bit of your thoughts on their music, they would be more willing to give yours a listen to. Thanks for sharing, and hope to hear more from you soon!

The way you softly (in a mathematical sense) progress from one atmosphere to another is very pleasing to the ear; to mine at least. The choice of instruments and effects and the production is very nice. Logic Pro does an amazing work in that field if it's mixed with a person able to handle it. Is this really all digitally produced? I don't really have any criticism, nor can comment any detail that didn't convince me. Everything is alright, everything is where it had to be for me at least. Thus, congratulations and thanks for sharing your work here. I noticed a lack of comments in your posts but I am sure a handful of people enjoyed this work at least as much as I did. Kind regards, Daniel–Ømicrón.

This is my first woodwind quintet; it was commissioned by a group at my university. I would love some feedback.

Yeah I agree this could definitely be played as its own standalone piece. Thank you for your kind words!

Not a fan of this style but I did like the part from 1:40 to the end above everything else which sounded good to me. Hopefully someone else that is immersed in this style of music can deliver better feedback than me. Thank you for sharing BTW!!

My favourite part is from bar 53-72, where there is some contrapuntal play and contrast of register. If the ending is more excited with more harmonic change, contrapuntal line and contrast of registers, it will be more dramatic. I always find it hard to compose character piece on piano, since you have to create a special timbre and atmosphere to attract listeners. But your piece certainly gives me an impression of wandering and struggling, and the choice of Ab minor is quite fit to that. What I don't like is the return of the opening material. I don't find it tranquillo, and I think it disturbs the overall flow of the piece. But maybe because of this section, I find the later section more flowing and attractive, I don't know. It's like the water flow is suddenly smooth after congesting.

Hey Daniel, It's good to hear another one of your nocturnes! I'll share some thoughts in no particular order. - Does the audio represent the rolled chords how you intended? Some of the chords were extraordinarily wide, would a real player be able to roll them that quickly? Or do you intend for slower arpeggios? Either is fine by me, but it feels difficult to play as I heard it represented. - I love your melodies, especially the ornamentations. You have a great talent of taking something simple and decorating it in a really pretty way. Kudos on that, it was one of my favorite things about this piece. - I also really enjoyed the breathing in the melody, like how you would give long rests in the right hand to let the listener focus on the motivic movement of the bass notes - One way you could improve imo would be to vary up the ostinato throughout the piece. I know you do near the end a little bit (I'll get to that), but after a while it started to wear on me. - Awesome part at 1:35 in the left hand, I wish you did more with that section - At 1:45, it's chords again. I felt like this section really took away from the momentum you had going. To be fair, it's fine to do it, but maybe it was a bit drawn out? Like the chord at 2:29 was a bit overkill for me, I felt like you could have gotten to the final chord a bit quicker. - Just curious, why Abm key instead of G#m? 7 flats vs. 5 sharps? I wouldn't say this is wrong, but just wondering the thought behind it - My favorite parts were the sections at 3:00 and 3:13. Both were great developments - 3:45, left hand again was wearing on me. I know you subtlety varied the motion, but it was just a reoccurring thing that kept popping out at me - I love the Beethoven type ending at 4:14, I would have repeated those 2 measures with a crescendo Overall, another wonderful work of yours. I've heard you do that left hand ostinato in one for your other nocturnes, and even though there's only so many ways we can dance around on a three note chord, I would constantly be experimenting with other ways of creating ostinatos. I admire your work and adore your musical voice, so any nitpicking I do to your music is only pulling mushrooms off of Bino's pizza; it's still one of my favorite places to eat.

I am curious. Why is this a symphony to you? Just because you wanted to call it like that? Because it's a multi-movement piece and technically has many instruments perhaps? I did not expect anything like this with that title, it surprised me (neither for bad nor for good). It does sound good to me, let's get just a little into details: • The first movement sounds good but it's very static. I guess you wanted it like that. It's interesting how that scarce material you brought allows you to define the movement that good. • The second movement, which I believe that starts around 6:25, creates an ambient of tension and possibly stains it with some muted despair very successfully. I like how each time the music tries to do a couple of tuned notes in common intervals, something seems to decimate those notes. However, I am asking myself where this is going in case it is going anywhere from 9:20 and on approx. Perhaps that's just not my thing but the ambient created is good enough to keep me around a certain amount of time. I am very confused though, has the third movement started already? Perhaps; I am in min 11 and the ambient seems a bit different. • In case I am already in the third movement I can say that having listened to the majority of the piece at this point, there's a lack of contrast that you might have sought for between movements, specially between II and III. The transition between III and IV (wherever it be) is another story. In the fourth and last movement I believe I am listening to a very distorted piano and well I think it seems to fit with the small story you made... But that's it, now I remove the words and I would be clueless regarding the number of movements and specially most of what you tried to mean here. This is an obvious flaw a lot of music has and it is normal. As long as you subjectively (just as me) find it fitting with what you wanted to tell I guess it's good. I would not call it a symphony and I'll explain why, though I want to be clear here, this is just my subjective thinking and I am not encouraging you to change anything at all of your music with these next lines: ♫ The obvious one, it is not written for orchestra nor it is actually playable by any ensemble of musical instruments in a concert. ♫ I do not really see enough a structure of each movement (whose beginning & end are unclear), much less any trace of a sonata form, nor actually a contrast in form between movements. I could really not point accurately to where the III movement starts. ♫ Despite harmony is present, the majority of the piece is filled by sound effects instead which don't pertain to harmony nor any extension of it that I be aware of. ♫ The number of electronic instruments I have heard is small, I believe, and they do not play simultaneously. If this could be played I think it would fit much more for a small-sized band disposition. Perhaps there's more reasons I could think of but I think these are enough to clarify my point and the reasons behind. In any case, you do you and the piece —however you call it— was enjoyable enough to me despite some bits here and there. Kind regards, Daniel–Ømicrón.