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Hello there I thought the ending figure was cool, but maybe out of place. Like Peter said, you could scrap it all together, or you could incorporate that into your previous cadences. Give a reason to have it as the ending, you know? Some time has passed since you posted this... are you revising it or moving on to other works? Regardless, you seemed to be concentrating on practicing developing your material with this one, and I think you achieved that to some degree. I'm curious on how it sounds after some revisions with the feedback you've received. Nice work 🙂

These are so cool! I honestly like the strings over the harpsichord with microtones... I'm not sure why. Maybe because the style of writing was different? I thought each movement highlighted a different pursuit or thought which was cool. Smart to do little movements instead of trying to cram a bunch of experiments into one. You have a talent for scherzos; they're always fun and jovial. I think the chromaticism really leads to a better use of microtones, they just felt more necessary to me than with the harpsichord piece. But both were good imo. I'd maybe experiment with other scales too in your studies. Dig into Indian music if you haven't already, it's big on it. I know you know this, but if you're ever writing bends and such for guitar or winds, you could dabble at giving quarter tone notation for it. All in all though, well done Peter. I'm sure it's been a nice escape from working on a top secret big piece.

I'm on a microtonal binge-composing streak and next I thought I'd try to use 1/6ths of a tone instead of just 1/4ths. I thought that Musescore Studio would have this capability built in as well but it doesn't. Instead, what I found works, and turned out to be a good enough compromise is using syntonic commas to lower or highten certain notes by about 20 cents. My goal was to use justly tuned minor and major 3rds in this which would necessitate lowering or heightening the equally tempered thirds by about 15 cents. If I had been able to use 1/6ths of a tone, I would be approximating that goal at 16.666 cents. But anyways, I wrote this invention for harpsichord as I've somehow fallen in love with microtonal harpsichord lately. There are in fact harpsichords built that can play microtones. Usually in 31edo they look like this: Edit: upon further listening and reflection I'm wondering whether this might not also have the character of an Allemande - a dance from a Baroque Dance Suite. What do you think? I would love to hear your input, observations, critiques or suggestions! Thanks for listening.

Revisited this piece, after a few weeks off of messing with it. That always seems to give me a fresh perspective on things I've written, and helps me to identify areas where improvement could be made. I feel confident in saying that if I were to forget this piece, and return to it again, that I'd be happy with how it is in it's current state. As always, if there are any areas where someone with more expertise than I have is able to identify an issue or mistake, I'm all ears for the feedback! 🙂 Thanks, and I hope you all enjoy my little heartfelt piece of music Lamentation_-_Kyle_Hilton_UPDATED_with_Spitfire_Labs_VST3_Audio (4).pdf Lamentation_-_Kyle_Hilton_UPDATED_with_Spitfire_Labs_VST3_Audio.custom_score (1).mp3

Hello everyone, this is my first time orchestrating a piano piece of mine and I wanted to go for an epic Straussian orchestration. Feel free to spot any mistakes or give me any advice, I'm still quite new to the world of orchestral music. 🙂 It took around 6 hours to orchestrate and I used basic knowledge, the Musescore playback and my intuition. The original piece was done at a very important time of my life and it symbolizes looking at he horizont of the dark past and remembering one last time before moving on. But feel free to let me know what it made you feel or imagine. 😁

Hello! I've been taking short respites from my next big variations project with some short pieces. This piece is one of those. It's my first attempt at using microtones. I'm just using 24TET and the piece is mostly conceived as a regular tonal piece of music with microtonal embellishments. I wrote it for string quartet since in such a chamber work for strings, microtones, I think, are the easiest to execute accurately. Let me know what you think, as I would appreciate any suggestions, critiques or even just observations! Thanks for listening. Edit: I've added a 2nd movement entitled Scherzo - Pizzicato Ostinato. Edit no.2: I've added a 3rd and final movement entitled Andantino Giocoso.

Hello all, First post here. I wrote this short piece about morality and inner moral conflict. Hoping for some feedback. Cheers!

Thank you so much, @PeterthePapercomPoser! Yes. I am planning on improving on it. Today I added the first solo, which I actually like quite a lot! I am trying to learn about different sections for now and, in the future, maybe add the whole band (or even making a new arrangement for it). For now, I will try to complete the solos, development and ending with this ensemble, as adding more instruments might be too big task for now! You are right, the singers and players (not on piano, of course, but even on piano they play both minor and major thirds almost at the same time to create the effect) make the tones lower on the blue third, so I think your idea is really good! But microtones is still such a unknown world for me. I see you have been composing with them lately! I heard to the invention and really enjoyed it. How does it work? Do you use it for adjusting the thirds according to the tonality of that moment so they are better tuned than with 12TET? I imagine it must be quite complex to decide on which notes to tweak and how much to tweak them. For passing chords I follow different methods depending on the context. I do not know much so, to be honest, for this time I just tried to keep it simple. I just harmonized in 4-voice close with the doubling of the melody in the bari sax and always leaving at least a minor 3rd between the top two notes. Then, I decided which tones to consider non-harmonic. I think that is the most interesting part, since in Jazz you could harmonize a 2nd in the melody as a passing tone or as an harmonic tone all the same. Then I followed one of four methods for the non-harmonic tones: Chromatic or step movement to the next harmonic tone in all voices. Diatonic movement to the next harmonic tone in all voices. Harmonizing with the dominant (if one note) or a chain of dominants or common progressions such as ii-V-I. Free counterpoint. I guess I used some diminished chords but mostly as a way of using the dominant with the b9. I did not use diminished chords as a "free pass" since I composed it mostl for getting used to the different methods. Finally I just changed the bass here and there but rarely, sometimes doubling other voices and sometimes with free melodies. It is a really "practical" method but, in the end, it actually gave much more freedom than I expected, even if following those simple steps. There are much more complex voicings that I want to get into in the future, but for now I decided to focus on the basics first! Thank you so much for commenting!

This reminds me of harpsichord music before equal temperament, where each key sounded "off" or out of tune with certain intervals. Like Henry, I didn't think of it as microtonal as much as just being slightly out of tune, but it has a certain charm to it because of that. I'm not very well versed with microtonal music, so perhaps it's just my ears that are off when trying to understand it. However, it's pretty impressive that music software can handle the notations and playback for it. I like that you're exploring this, as it can only help your growth as a composer. I'm interested to hear how your studies with microtonal music impact your future music. 🙂 I'm also curious, since you're digging into the harpsichord, of how your more "you" harmonic style would be effected with microtones. I think it's very easy to cater your music to a more baroque feel with the instrument, but I know deep down your language is more daring. I get that it's an exercise to practice using them, but just curious about further studies. Very cool stuff mate, thanks for sharing

Hey @JorgeDavid! I think this rendition sounds great! For a quick first try it's really good! The melody is catchy and bluesy with all those b3 blue notes. I think if you used microtones it would sound even more bluesy since, often, blues singers, when they sing blue notes are deliberately out of tune and bending the notes down a bit lower than they would usually be in 12TET. I am assuming you used diminished chords as passing chords in your passing 5-part Saxophone harmonies? Thanks for sharing this really accessible and promising piece! Makes me want to hear more and with a full big band!

Hi @Some Guy That writes Music! I like the dynamic contrasts and use of pizzicato for the whole ensemble in some parts! I think you could use even more extended techniques such as artificial harmonics and double, triple and quadruple stops (which are especially idiomatic for strings played pizzicato)! Btw, in bars 25 - 27, the notes played in the 1st Violins can all be played at once in pizzicato and don't have to be arpeggiated that way, unless of course you really want it to be arpeggiated. Once again, I felt like the majority of the piece stayed in A harmonic or melodic minor and it would have been great to hear some modulations and explorations of other tonal centers or more unusual sonorities! Thanks for sharing.

Hi @kaiyunmusic! Glad to see that you're finishing more of your pieces! Your music comes across as really really sweet. I think the pieces @Henry Ng Tsz Kiu referred to above by Joe Hisaishi are also great and something to delve into more if you want to get more into that kind of style. Also, if you haven't heard of the composer Takashi Yoshimatsu check out his "Waltz of the Rainbow Colored Roses" which I'll also link to here. We actually had a competition on this forum where everyone wrote variations on the main melody from this piece (even I wrote a variation for it!). Thanks for sharing!

Hi @Some Guy That writes Music, Like Mark said the music has some renaissance feel. If some parallel octaves are added it will become a parallel organum! I like how you control your music with the contrast of tutti and solo passages just like a Baroque solo concerto, and your use of different textures and note values to control the flow. I think in b.21 slur would not be used for a pizz. passage in violin II! Thx for sharing. Henry