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Hi everyone Here is, without any particular context, a waltz that I composed just before Christmas (as I wanted to compose a special piece with a Christmas feel in it). I already posted a waltz long time ago (lol) in 2020 I wanted to reiterate the exercise and compose another waltz in the same style. This is obviously Thaikosvky-ish, and I'm quite proud of the finished product. One of the challenge in composing it was to try to add harmonic novelties, as waltz harmonic progression tend to be quite scripted in advance. I also tried to reproduct that particular "magical" feeling that can be heard in Tchaikovsky's ballet and waltz. Feel free to criticise and say what you think of it. Camille

Thanks for the idea, but i think that I’m satisfied with the content in the piece. Your feedback definitely helped me refine it! I did make this piece with the intention of simplicity, lol. Glad you enjoyed it!

Hello Everyone! I'm Emile, I'm 18 years old and I'm from a little island called Aruba in the Caribbean. I'm really passionate about Music, I'm a Classical/Romantic Composer/Pianist and started to compose when I was 12 and started with the piano at 14(able to play late Beethoven sonatas). And I've started to try my best to be known out there currently working on a piano concerto in f minor, string quartets and I'm looking forward to meeting all of you and getting involved in the great things happening here on this forun. This is the 12 variations on a theme in C major. But this is the 11th Variation! this is my first Toccata and First Fugue! this toccata took me several weeks and i was inspired by the intro of his Choral Fantasy when i first listened to it! and i decided to dedicate this to Beethoven because I finish the piece a day before his birthday. Dedicated to (Departed) Ludwig van Beethoven, Birthday of the Year 2023 P.S - The 3 voice fugue is not in strict form it's a wander/sonata form 12 Variations and Nocturne for Viola and Piano on a theme in C Major.mid

Hello @Henry Ng Tsz Kiu, I want to express my sincere gratitude for taking the time to listen to my composition and offering such detailed feedback. Your insights into the harmonic language, transitions, and various technical aspects are incredibly valuable. I'm glad to hear that you enjoyed the youthful energy and recognized the Beethovenian influences throughout the piece. Your suggestions for smoother transitions, voice leading, and enharmonic spellings are duly noted. I won't be revisiting this particular piece due to other compositions to work on at the moment and busy most of the time, but I'll definitely take these notes to heart for my future compositions that's a promise. I will post other compositions of mine that I have made already, so the public can see more of what I offer. Your constructive feedback is exactly what I need to grow as a composer, and I truly appreciate your encouragement. I'm excited about the prospect of incorporating these insights into my upcoming works. Thank you once again for your thoughtful critique, and I'm looking forward to sharing more of my compositions with this wonderful community.

Hi @Musical, To be honest I really like your attempt on String Quartet! You are trying different things here: those pizzicato, beautiful melody for the viola starting in b.22, interactions between the instruments instead of having the first violin as the sole soloist, dancing style, texture in b.72. For me I think at least there can be a return to D minor before going to D major in b.132, and there can be something like brightening the mood from minor to major. Maybe the texture in b.76 can be reintroduce before the turn to D major! That beautiful viola theme in b.22 can be recapitulated in the D major section by the cello. Some all pizzicato passages will be funny as well! Violists always suffer from discrimination EVERYWHERE LoL!! But it’s such a beautiful instrument!! We are happy that you have joined! Feel free to enjoy YC! Thx for sharing your work! Henry

Just relisten the whole thing and I really love those improvisatory fill ups of the piano!! I think they blend really well! Maybe you can also add a whole new section with the pianist soloing in an improvisatory style too! Thx for your update! Henry

Get yourself the PC Engine version of that soundtrack. Went phenomenally hard

Delightful .... reminds me of the movie soundtracks of the late 60's early 70's .... brings back good memories ..... Mark

Hey Samuel, The register and colour of thIs piece is interesting, as it features more for the alto range of the melody with the viola and the chalumeau and clarion of the clarinet. This makes it very Brahmsian for me with also the rhythm and flow! It’s like a love in a more restrained manner rather saying “I love you!”. Maybe you can add the high notes of viola and clarinet later on. And Piano can be featured in later passages! For me the A minor theme in b.33 is particularly lovely after a warmer A major section. The modulation to D major and ending on F sharp minor is good too. How will you end this piece for the test? Back to tonic, or add a contrasting section and feature Piano? Thx for sharing! Henry

Hey Peter, thanks for reviewing the piece. Yes, its a fun game to play, but I must confess, it doesn't always work out as good as what I've shared. These are the rules: 1. Spin a wheel to determine how many instruments to write for. https://wheelofnames.com/2kq-y9a 2. Spin the wheel of instruments to determine which instruments to write for. Spin once for each instrument until you have as many as you were allocated in step 1. If you get the same instrument twice, you can spin again for another instrument. https://wheelofnames.com/pfa-smc 3. (optional) Spin a wheel to get a time signature. (this wheel is pretty fun) https://wheelofnames.com/v3e-5yt 4. (optional) Spin a wheel to determine whether to write in major or minor! https://wheelofnames.com/q2s-t7w 5. Go and write the piece (you don't have to finish it if the combination if sounds like Karlheinz Stockhausen (with all due respect to Stockhausen)) This game is quite obviously in a beta stage, but I would be happy to collaborate to polish it up. I think that it might even have potential here as a competition (provided that enough people here use musescore), but I shouldn't get ahead of myself. The most obvious problem is that the wheel of instruments is not weighted, meaning that you are just as likely to get a finger snap sound as a violin. Also the list of instruments isn't extensive, and it should also be refined. Probably the worst combination I have gotten was Clarinet, Tubular bells, Timpani, and Tambourine. To make thing worse, the time signature I got was 16/2. Needless to say, I have since revised the time signature wheel. I turned the whole thing into some sort of sacred, oriental ritual dance. If you are interested in playing the game, let me know! I usually play it with my sister, where we take 30 minutes (which usually exaggerate into an hour) and then compare our results at the end. Thank you for the welcome!

Hello For me, there has been a long process in which everything was a rush to finish the compositions until now, when I think about it much more. Part of the "problem" is that during all this time I have been interested and learning many systems and languages, including contemporary ones. Right now what matters to me is trying to introduce some personal emotions into the music. Which doesn't mean that they are identically understandable by the listener. Sometimes a title leads me to the composition, sometimes I don't care, or I prefer, as @Henry Ng Tsz Kiu said, to leave it open. I don't like (composing) pieces of several movements, I always think that one has nothing to do with the other.

Yo Peter, I am the complete opposite of you! I prefer having the title of my compositions just numberings, since by this the meaning of the piece won't be limited by the title but instead can be more freely interpreted by listeners! For me naming it in a programmatic way means limiting its potential. I am the complete opposite of you for this as well! I have way too much to talk and I need multi-movements to speak out my mind. Each movements have their own unique thing to express, but I believe 1+1>2 and when the movements are carefully arranged, cohered and echoed I am sure the meaning will be much greater than just one single movement of work. I agree with you on this, since I think it meaningless to write pieces just for fulfilling keys (not blaming you my bro @Thatguy v2.0 LoL!) Also I have key that I don't love so I won't write pieces on that key! For me I always use motives for expressing my meanings. Just like my Clarinet Quintet the motives are everywhere, and through transformation of the motives and different combinations of themes create different meaning (at least for me). Sometimes the "meaning" is just emotional expression, like the first movement of my Third Piano Sonata. Or more philosphical like my String Sextet, where I express my meaning through themes and sometimes promoting a more unique soundscape to let you feel what I feel when I was thinking those subjects or inside those thoughts. I am the complete opposite of you for the third time! I never really seek novelty of some kind, but the inspiration pushes to write their own music and I am just the interim communicator between the ideas and the music, like a mother between the heaven and the offspring. Your work will indeed carry some of your own genes, but I don't think you can determine them at all! And I think my style is more conservative than you! Thx for your question and sharing Peter! Henry

Hey @Guardian25, I particularly love the imitative texture of the movement! Your texture here really reminds me of Bach's organ preludes. There's melancholy here and the sound effect is very nice combining with the counterpoint. Maybe just give the pedal a chance to play the melancholic theme as well! There's a parallel 8ve in b.10 though haha! The parallel fourth in b.19 can be a bit bare if there's no faxbourdon texture. For b.24 right hand maybe I will use D natural instead of D sharp even though it's D sharp in the left hand. Apart from these small details this is very enjoyable. Thx for sharing! Henry

I think they're all fun in their own way. Check them out! (Of course some of my family complained - "What is this?! This isn't Christmas music! Turn that off!" LoL

New year, new project: a cantata! This will be the first (out of four) aria, featuring the timeless classic of solo flute & tenor duo. The structure will likely end up being A-B-B' separated by both complete and incomplete instrumental ritornellos. Note that the score is currently very messy with missing figurings. A few thoughts: What would be a suitable libretto? The second aria will employ Goethe's poem "Wanderer's Nightsong", so anything in that ballpark will be great. I am once again focusing on making the playback sound as good as possible. Are there any good soundfonts for Baroque music (without much vibrato)? How does the playback currently sound? MIDI-like or close to real music? Are there any parts which sound obtrusive or weird? Any other comments warmly welcomed!

I will stretch out the beginning for sure. I have some ideas of where to go from here. Composed in an hour, so lots more to do. Thoughts?