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hey thanks Henry. When you say these are more "me", are you saying they have more of my character in them? Or perhaps they're not as reminiscent of something else you've heard? Same. Now just imagine is as a heavy guitar part lol. It originally was 😄 true, it could be difficult in parts. I usually pedaled the first low note of the phrase in the left hand to be able to hit the C without having a painful stretch. Would that be something you would notate? Thanks again for checking it out! Ah, you're very smart, nice catch. I used the 12 bar blues as a framework for those sections, and the sub V chord instead of the V for the progression. Yeah I think you're right on this. I'll make it bass clef in the final edit. Probably a good idea to do something similar with the last measures in the left hand too. I originally had two eighth notes at the start of every measure for the left hand to show the downbeat for each bar, but ultimately I thought it sounded bad and not as fluid. Maybe I over thought it? I'll reconsider that section since maybe you weren't the only one who had an issue with it. Personally, I got so used to the rhythm that I never counted, but I can see how it might be difficult when trying to perform this. It could also be that the right hand chords sometimes landed on the 1st downbeat of the bar, while others hit on the and of 7. Maybe if that timing was more consistent it'd be easier to count. I'll check it out. Thanks for checking it out dude, I haven't seen you around lately. Excited to hear more of your stuff.

My Spaghetti Western style orchestral piece. This is actually the last piece I'll ever do with my now ten-years-old PC, as tomorrow I'm finally assembling my new one. Let me know what you guys think about this.

I has a lot of troubles uploading this lol. Im trying impressionistic instrumentación, I always loved how Debussy and Ravel uses the orchestra and I wanted to do something similar. Also, any tips for instrumentation? The piece is not complete tho

Yo don't break your arm patting yourself on the back

Here's a short waltz that I'd like to share with everyone. The original score was created last 2014 as a soundtrack for a video project in college. It was originally for a couple string instruments. In 2019, I transcribed it for solo piano. In the process of transcribing, I accidentally swapped the treble clef of the right hand with the bass clef without changing the note order, thus changing the entire tone of the main melody. It sounded off at first but then I thought, it's not bad at all! So I took that "accident" and incorporated it into the final version of this piece (you'll notice that measures 41 to 56 is like a copy of the main melody but different). Then a few days ago, I finally decided to complete this version. I had fun revising this one, and I hope you enjoy it as well 😁 Waltz in C Major.mp3 Waltz in C major.pdf

a piece I made a while back

not me, we never lost control Very cool as usual... in fact, I can't remember not liking anything you've ever posted. I wish the piano (and at times the drums) was a little higher in the mix, but it seems well polished nonetheless. But there's one flaw in you and it's a big one I just wish you would... POST MORE MUSIC 😄 Thanks for sharing

Hey Samuel I love what you have going on so far. I'm a fan of how the impressionists treated the orchestra too, and it seems like you're following suit pretty nicely. I'm moving your post to the unfinished works section. You might find that it gets some more attention there as an unfinished piece, since when people go scouring that section they know part of your intent for critique is figuring out where to take the music. I don't necessarily have tips on orchestration, as the color you have seems wonderful so far. I have a few points about the music though. - b.8 seems a bit weird to me. Are you going to add more to the flute quarter notes, or keep it as is? I feel like a half note then a rest would work better, or maybe a diminuendo on the notes might work better. the 4/4 time seems odd too - make sure to notate divisi and all that, since it's unclear what your total instrumentation is - Some of the time sig. changes felt a bit unnecessary to me, but maybe when you're finished it'll make more sense to me? I'm just being nitpicky, this is great. I REALLY like the idea of an impressionistic piece with a smaller orchestra, you'll get loads of experience squeezing every ounce of color out of the instruments you have. Brush up on their technique too if you haven't already; with the instruments you've chosen, you'd be surprised how much more you can get out of them. Thanks for posting, and keep us all updated! Wonderful start so far. P.S. What sort of troubles did you have while trying to upload?

Absolute banger - Has funky written all over it. I really like the fact that you stuck with a 7/4 time signature throughout the piece. It's already a hard time signature to initially feel. However, since you kept it throughout the piece, I was able to catch on without needing to look at the music. Sounds almost like a twelve-bar blues without the twelve bars. I like the tri-tone sub you add for the ending of some of the phrases. I also really like the spacing you give to the dissonances and intervals - This shows me that you have careful and concise intentions when writing. Small critiques: M. 15 - Any chance you could put this right hand in bass clef for simpler reading? Use M. 13 for example, an experienced pianist has seen octaves a lot and is familiar with what they look like. The low C# in the right hand of M. 13 is doubled with an octave above, so it's easy to read. The M. 15 doesn't have doubled octaves in the right hand. One will eventually figure out that both hands are playing the exact same thing, but I believe putting the right hand in bass clef here would make it simpler. M. 18-27 - I only wish there was a clear downbeat here. I've listened to this about 6 times now and always find myself mixing up the downbeat during this section. Maybe I'm a bad counter I don't know. Overall, good stuff here. Very motoric, rhythmic, and modern. Kinda makes me wonder what Prokofiev would've done with Jazz music.

Hi! I have a few suggestions : 1. If you use a 9/8 indicator it has sound like that! Maybe, a bass that marks the three pulses (as in waltzes) would be a good a idea. [Check La Valse - Ravel: Holberg's Suite Sarabande- Grieg] 2. The tuning of keys in strings is different from pianos, in piano it doesn't matter if we are playing in C major or Eb minor because all sounds the same, but this is not true when we are speaking about strings. Violin has 4 strings: E, A, D, G; those strings sound more brilliant when they are not pressed, in Bb minor E, A and G are flattened so we use just pressed notes (i'm really trying to express myself in another language, i'm doing my best i swear, if you dont understand me pls tell me), that makes the sound more dark and weak (also its very hard to play correctly) [check edward grieg op. 27 no. 1, look that in the first chord a lot of notes are open strings][compare it with Tchaïkovski Op.48, no note is an open string and it sounds softer and weaker] Usually, string composers dont use more than 3 flats/sharps. 3. If you want a passage to sound 'violinesque' you have to use the E string, the second melody in bars 1 -7 (violin II) will sound better if it is played by a viola, as the violist will use the G string which is very present in viola repertoire and is characteristic of that instrument [check hindemith's viola sonatas] 4. b12-13, parallel octaves between db and viola, also, i miss the c in the bass 5. If you use a db, you have to use a cello, if not, the pitch of the instruments are not balanced. 6. To sound more impressionistic or more alike to debussy's music, avoid V-I progressions, also it sounds pretty contemporain (i dont know if thats intended, cool if thats the case) [check ravels mallarme poems, look at cadences] [check la fille aux cheveux de lin, b2-3, its a plagal cadence, b9-10, look at the V chord, it has no leading tone!] I hope this helped you! - Samuel

Hey Vince, I feel like in this and prelude no.8 is more "you". I feel that in these two you are trying to write something but they're just there. So improvisatory here with the unchanging bass and I'm feeling like having a lesson of improvisation from Prof. Vince! But despite this you write very motivically here. For certain my fav. section is b.29-36 since the texture is real interesting here. With the quick tempo, 7/4 metre and fleeing notes this could be difficult to play. Thanks for sharing Vince! Henry

Let me know what you think!