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Hi, Peter It should be over 3 minutes. I just listened to it again. It's raw AF. Not sure I should have shared it. I improvise to look for ideas and try out new sounds and textures. Hopefully it will have uploaded properly this time.

Hello Everyone, This is my first serious attempt at a video game soundtrack. I used the free plug-in called "plogue sforzando"; highly recommended with plenty of soundfonts to work with! Anyways, I was hoping you guys could further shed some advice on this track of mines(The feedback wasn't too good on this one, probably need to refine my commercial music skills). I would love particular feedback on Instrumentation, form & structure, and melodic continuity("flow"). Score Audio Thank you truly.

Hello maestros! Here's a piece I've been working on for the last couple of weeks. It's for vibraphone, clarinet, violin, flute, bass flute and synth. I included a strange little dissonant passage in the middle, as a contrasting section. Possibly this should be longer (or have a slower tempo)? Far as I know my melody lines are original: so I do hope I haven't unconsciously copied something by another composer. I tried to use unexpected harmonies in the synth. Not sure I've been successful there? The melodies are supposed to represent striving or yearning: hence the title. (Newer versions will be posted lower down the thread.)

An improv based on a 2 bar theme I created to demonstrate how to create a modulating period in a lesson plan I'm working on with Aaron. It's a first run so very raw and noisy. Influenced by mozarts piano sonata in D I think because of the repetition of the theme in ii.

These are each built around the same interval that begins the piece, with also some borrowing of melodic lines here and there.

This is a piece I recently wrote. I was inspired by looking upon so many problems that are going on in the world, as well as being inspired by problems going on in my own personal life.

Sorry guys, it's been a busy time - brand new job, long hours, even working Saturdays! @Henry Ng Tsz Kiu Thanks very much for your compliments! I have always thought of allargando literally (broadening, but without any dynamic implied), as distinct from ritardando (slowing down). I could possibly use calando, but it's not very correct for this period, better for Classical style (Haydn used it a lot). I'll think about it. @chopin Thank you too for your very kind comments! The counterpoint in this piece is what I'm most proud of. Haha, I know what you mean. Even NP can't do everything perfectly, and choral/vocal sounds are the hardest to get right on a computer. Thanks again guys!

Thank you, Henry and Vince I'm helping Aaron. My idea was to ask him to create 5 x 2 bar themes and from there create a modulating period. I chose the third theme although the other themes are OK. I'm going to compose along side him step by step. Darren

Hi @Setthavat, Well I'm probably the worst one on this since I never write commercial music. For me some commercial music needs to be fast paced and catchy with some memorable melody and rhythm, but I don't know. What particular skills are needed for commercial music? For me it's cozy music which does fit commercial setting like the supermarket or something! I love the relaxing mood you have portrayed here. The harmony is somewhat jazzy for me. I'm thinking of to use vibraphone to replace the celesta for a more cozy feeling. What do you think? Will it be a better commercial music with a constant beating throughout the track? I love that drum set, and possibly adding maraba will be more relaxing too! Why is the ending oboe an octave lower than in the score? I think form and strucutre is not very important in commercial music? The customers are not attentively listening the music and no one cares about it except music major probably LoL. I think the flow can be even better if there's constant beating. It's great to have a gradual dimineundo at the end, but for me to have an oboe solo at the end may sound strange for a commercial music? I think it will help its flow by having some accompaniments there. Also it will help by providing a smooth transition back to the beginning since some commercial music are in a loop I think. But thanks for sharing. I really enjoy this one Setthavat! Sorry I know nothing on commercial music and my advice may be of little help LoL. Henry

Hello, everyone! This is a recent composition of mine, based on one of Emily Dickinson’s poems. It is almost complete! This piece is not too difficult; on a scale of 1 to 5, it would be a 3 (in my opinion). It is written for a mezzo-soprano. Is there anything you think I should add/change (not dynamics, as I will add those later)? (Forgive me for the use of synthetic instruments; I am merely a peasant.) Thanks so much for your feedback!

Salutations, Thanks so much for your reply! I will take this into account in future compositions. I must say, I was inspired by Aaron Copland's adaptations of some of Emily Dickinson's poetry when I wrote this, as I have performed one such of these songs in the past. I didn’t have an intended key, per se; I was intending to create imagery with the music. However, I do think that for the sake of cohesion, your suggestions are well-warranted (and dearly appreciated). I shall see what I can do to make adjustments, and I once again thank you for your advice. -LilChopin

Hi Alex, The combination of the instruments is very soothing and relaxing to listen to. I love the 1st part very much; it's simple and immersed with calming atmosphere, as I particularly like the vibraphone and clarinet melody here with the synthesizer background. For the second section it's more dissonant and have a more complex texture in the beginning. I'm not going to lie, it reminds me the opening of Bach's Mass in B minor. That chord change in 3:11 is very nice (a E-F#-G#-B-C#? very nice), and the chord changes are interesting. Combined with the synthesizer sound it's like colored lights changing their colour in every few seconds. This section is particularly soothing. I find myself nearly sleeping comfortably. Maybe I'm yearning for a pasture to sleep on it! This is very enjoyable. Thanks for sharing Alex! Henry

Hey @PCC, Yeah it works! LoL haha! I think composers tend to be stubborn since if they aren't they won't compose at all. First it's a live recording!!! I love that! Why don't you put that in your YT channel too! Your piano playing is excellent for me. I agree that the interpretation is difficult since there IS a nakedness in the music and you the pianist really have to play what you the composers has been thinking, but I love those kind of silence! And the lovely watermarks haha lol! The introduction kinds of set the serious mood of the piece with motives hidden in it. B.17-18 gives me a very Japanese anime feeling, and it's the cornerstone of the whole movement with that motive since I think everything comes from it. Great motivic coherence throughout the movement for me. The theme in b.23 is the inversion of the aforementioned motive which great pianistic effect! I love your harmonic progression here very much since for me you are taking an indirect route here for the goal of half cadence, and this makes it special. B.31 for me is the combination of the texture and mood of the introduction and the b.23 motive. Is b.48 the second subject or not? The climax in b.68 is fascinating but seems too short for me! Also the preparation I feel like it can be longer, but this is personal. The modulation to E mixolydian in b.88 is crafty. I freakingly love that part in b.96 with your voice exchange, and that's for sure one of my favourite section of the movement! Its texture honestly reminds me the Rach Piano Concerto 2. But b.106-107 maybe only an 8va sign is needed instead of a 15va. I love the texture and counterpoint in b.108-115, it's so flowing there; but again I find the passage too short. i think it will be better to write out the passages instead of "ad lib" in b.117 and 119, since your own passage is good and for me it's not a place for cadenza. So b.120 is the recapitulation? Again I love b.129-133 for its texture but again it's too short for me. It's quite Debussian there. B.146 is identical to b.68. I feel a little bit off in b.150-156, maybe the mood is too different and the volume does not match. Wow b.164. It's the use of your motive and it gives me the feeling of the opening of Chopin Ballade no.1. However I don't like the Picardy 3rd ending since I think it does not match the overall mood of the movement. Or maybe I'm just too dark a person LoL. Overall, very nice job playing your own works here! I see the 2nd movement is in Ab minor right? Can't wait to hear that! Henry

@Samuel_vangogh Right, I understand where you're coming from. Makes sense to me. @chopin Wow, thank you! I appreciate your thoughts on the piece. I'm a little surprised you want to use the piece for one of your videos, but sure, I'll send you a MIDI file, and I look forward to your video! I've watched a couple of them, and I've been really impressed with both the transformations, and how you're evidently striving to make the software user-friendly. I love that in particular, because I'm having to use Sibelius as my DAW, which is hardly ideal, and I'm not tech-savvy enough to really understand how to use a proper DAW.

@SergeOfArniVillage Beautiful! I think your intro is rock solid. Your ending is a little to abrupt for my taste, but who cares, the piece is excellent. You have some pretty awesome chord progressions in your intro. Then you take it to the classical style, I was surprised. In a good way because it's very Beethoven-esque. Then it sounds like you take it into a pseudo Chopin-like passage. This is super fun to listen to. I love the pacing of this piece, it really brings out the passion of the emotions you were going through when composing this. Can I actually nuance this piece and showcase it in another video of mine? You do a pretty good job with the midi already so that helps me out, especially your intro. But I think I can make this sound even more realistic. And using this beautiful piece in my future videos......is something I'd be proud of doing. If yes, please send me the midi (via pm).

Yes! Indeed, i'm just saying that romanticism + 'bad' voice leading (i mean, that's not bad yk) is pretty uncommon, but, if they are well prepared [adagio - mahler 5] can be beautiful! Soometimes it's better just to forget academic rules

Well, I can only agree with other members here: a brilliant composition, performance and recording. Just.... superb. I'll be back to see the video.

wish I could find the clip where the announcer says "he's simply amazing" about michael jordan lol. This is insanely good. You just... you $hit on my understanding of what can sound good with this piece. I love it!!

Thanks for the compliments! I felt like starting simple with the melody only was a must for the listener to understand the heavily harmonized versions later on. You might be right in that the rate of the passing of the notes is quicker there but I am not sure what I would personally find more difficult - the main theme harmonized in 3rds in both hands or the relatively simpler fioraturas in this section. Thanks for listening and reviewing!

I understand that a Etude is a short piece where the composer insists in a concept or idea, harmonic, melodic, rhythmic or technical. In that sense, this piece fits well, as the chromatic scales come and go. The work is a big crescendo, being the last part a little bit percussive. I suppose it could be play by a virtuoso... On the whole, its a beautiful piece. Sometimes this kind of Etudes focus on what the composer wants to show but they are not interesting. That's not the case.