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Hi there I'm going to be recording some demos of new songs, but in the meantime I'm self-recording just to have them to pitch. I'd love some feedback on this and the upcoming songs, especially all you talented vocalists and lyricists. I'm really interested in improving my vocals. This is a quick recording, I'm really hoping for ideas on how to improve the melody or guitar parts since this recording won't be final. It's pretty simple, pop-ish chord progressions, nothing crazy. Even if you don't comment, thanks for checking out my music 🙂 *** Lyrics: I've no fear of the sea cause with you I can tread higher water even if we drift off with the breeze I'll go the wrong way with you * When we drive down the road I get lost in the way you direct us no matter how far we are from home I want the wrong way with you * When I get back from working I come home to karaoke and your voice fills the room an out of key symphony but I can't help it, I'm in love * I tend the fire at night the warm light dancing free all around us I wish the sun would never come up again so I can stay right here with you down the wrong road with you and I love the wrong way with you any other one just wouldn't do when you're here, wherever we are feels right inside and I'll always throw away the guide and walk, the wrong way with you

Hi @Fruit hunter! I love this piece! I think the most obvious memorable section is the Alla Ninna Nanna where you set the well known Nursery Rhyme in multiple different interesting modes/harmonic contexts including Lydian, Phrygian and even Locrian! Have you heard Ernst von Dohnanyi's Variations on a Nursery Rhyme for Piano and Orchestra which uses the same theme as its basis? I loved that piece so much that it inspired my Variations on Deck the Halls for Piano and Orchestra (I basically used that piece as the model for my piece). Your score is full of interesting orchestration techniques including the very brief microtonal inflections in the middle of it. I have recently gotten into microtones more and I feel like you could have incorporated microtones more fully into your piece without ruining the intent of making a basically consonant soundscape that I think your piece is. Like @Henry Ng Tsz Kiu mentioned, some of those soundscapes sound Stravinskian, even cinematic sometimes, I'd say. Some of the score reminds me of the soundtrack to the Matrix. I perceive the piece to be divided into 4 movements. I think the 1st and 2nd movements are my favorite and most memorable. For a piece that mostly lacks recognizable themes (besides the Alla Ninna Nanna), it really commands the attention! Great job and thanks for sharing! P.S.: Besides reviewing others works, I'm sure the reviewers of your piece would really appreciate if you gave them a ❤️ or a 🏆 for their efforts in reviewing your music! (myself included ofc LoL)

This piece originated as a String Quartet early last year. I put it aside for a few months to work on some other stuff for my school composition portfolio before returning to it last September after I was asked to write a (moderately difficult) piece for a small chamber group consisting of a clarinetist, violinist, cellist and bassist. Due to the stress of my final year of high school and a bout of severe writers block/self-doubt I was only able to write about 24 bars of material for the version of the piece attached below. I had much more written though I trimmed it down to a point where it felt like it could stop so that I would be able to submit it in my composition portfolio. I've considered letting this piece rot in unfinished piece hell (where a good chunk of my pieces are), though I've now decided to try and complete a full sonata form movement. Maybe after I finish that I'll turn this into a proper chamber work. Maybe I might turn it back into a string quartet. Thoughts?

Thanks Peter, I'm glad you dug the form, even if it was a bit unconventional. Glad you enjoyed the playing too! 🙂 I love this. You're a poet my good man 🙂 Thanks for checking it out Henry

Hey Vince, I love how this song features your lower vocal range. Combining the B major sound (or C major in the score) it really shows calmness but not without power. The silence after the outburst of wishing the sun never to come up again is nice, the next sentence “so I can stay right here with you” sounds like a monologue or soliloquy which you don’t tell to your love. I also love the 3 beginning lyrics with the same note B. They sound like only when you had excitement of the sea, went the wrong way and light up the fire you had colour in both the music and your life. I love how simple this is. Simplicity is always the most needed thing in our lives LoL. Thx for sharing! Henry

Hey @Thatguy v2.0! I love this song! Nice message in the lyrics too - not your typical sappy love song. I love how the piece ends on such an extended verse - it also definitely doesn't follow your standard verse - chorus - verse structure especially with that ending. There's lots of cool inflections in the guitar chords too that make the piece custom and far from standard. Thanks for sharing!

I am looking for feedback on one of my compositions https://musescore.com/user/53049012/scores/20469397 This is the muse score you could use it as an audio. YouTube also works as audio

is definitely a big difference from the first file up above! It starts very quiet and blossoms into louder section with the harmony taking a backseat to the melodic voices. Very nice! And there are also nice places where the music withdraws a little from getting too loud too quickly like around the 2 minute mark. Thanks for sharing your progress! Sounds like a good idea!

Indeed! In the traditional music of my country (Spain) and the whole Mediterranean area (North Africa, Balkans, etc...) microtonality is something normal. And there are artists who are able to transfer it to pop. This is the case of Diana Navarro, an incredible voice. In the first phrase you can already perceive the microtonality. But if you listen to her until the end ...... Amazing. If you don't want to listen to the whole track, skip to 2:55, for example.

I took your advice, and made a more realistic rendition. Think the dynamics are working better now? I used higher quality sample libraries, and made slight tweaks to the score. (This is a performance score, hence the strange note lengths and dynamic extremes.) Have to think of a second subject now, to extend the piece. Think I may go with an atmospheric vibraphone and glockenspiel duet, with some tomtoms using feathered beaming.

When I sing a note wrong in the Karaoke or Choir.

Hello @expert21! I think it's pretty good as a Clarinet Quartet. I hope that the Clarinet can get to play the melody at some point in the piece! It would be a shame to have a Clarinet be part of the ensemble (and be the only wind instrument with a unique timbre) and not get to shine as the soloist. Is this ensemble picked by necessity? In that case I'm assuming you don't have a Violist, which is why this ensemble lacks one? I would personally prefer to write for Clarinet, Violin, Viola and Cello rather than the Contrabass. With this ensemble you should take care to not have the sound be too heavy because of the Contrbass, especially if the Cello and Contrabass aren't doubling each other. But that doesn't really seem to be a problem here as you have the Contrabass consistently in a range that the Cello could easily play as well. There is ample harmonic variety, although I think the bass line sounds a bit awkward sometimes. Thanks for sharing!

Maybe the introduction progression is the most interesting part of the piece. I found it the other day and I probably took inspiration from Gesualdo. About the rest of the piece I tried to convey the imagine of a knight who has been defeated in a Souls-like universe. I wanted to portray the feeling I got from the music when I first played these videogames that I love so much. I hope you enjoyed it and see you next time!