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Thank you! Yes I just finished making a version with organ and more, gonna post it. I listened to the soundtrack you mentioned, it does really have a similar vibe. This groovy spookyness..

Hi @shirz and welcome to the forum! I like the alternation between the two main harmonies you use throughout the piece! I think these kinds of simple alternating harmonies have a lot of expressive potential! It does sound kind of demented and spooky. Organ would make it match your target vibe even more! You know .. this music kinda reminds me of the OST to an old SNES game called "Zombies Ate My Neighbors" LoL! Great job and thanks for sharing.

It sounds phenomenal. I always really enjoy microtonal music; it has a special aura, which is obviously different from what I'm used to. In this case, I also like how it's organized into a little fugue. The dynamics are great.

I've been studying counterpoint for years now, learned mainly from Fux's gradus and developed a solid understanding of species counterpoint. That said, one quick analysis of this first movement will reveal deviations from the rules presented in that book. Accented passing notes, leaping from dissonances, and the occasional unprepared chord in second inversion, that one consecutive fifth... I'm well aware of the rules broken and the liberties I have taken when it came time to make the transition from species exercises to actual composition. Despite that, i'm very proud with what I ended up with. There's plenty that I wish to improve, and hopefully you'll get to hear the results of my efforts in the following 2 movements, as well as in everything that will be released following the completion of this sonata. Youtube link with sidescrolling score:

Hello @Fausto Manuel Orieta, Welcome to the forum! I think this one is enjoyable to listen to, even though it’s more in Baroque style’s counterpoint than Fux’s species counterpoint. Like that you try imitation in b.53. Although I find it a bit deliberate with the do re mi / mi re do moves throughout the movement. Also I think you can add some slur markings even this means to be a Baroque piece. I would personally prevent those augmented second movement of the violin (F-G#) near the end since it sounds a bit out of style. Thx for joining and sharing! Henry

A few weeks ago I already posted this on related forums, and received some very detailed responses which pointed me to rework the dynamics, chords, tempo and key signatures. Now I feel like I'm much closer to having a polished and release ready version (it's just a hobby project for me though). I'm sure there's still a lot of stuff in there that looks / sounds amateurish, which may or may not have to remain depending on the effort I'd have to invest to fix it. But to get a general impression on how much this transcription / arrangement is still lacking, I'd like to have some final feedback, in case I'm allowed to ask for that over here (specifically looking for a community specialised in composing now). The score can be found here: https://musescore.com/user/103380388/scores/25823476 It's supposed to be an arrangement to the following track: Paint the Pictures I know I've taken a few liberties and it's not a 1:1 transcription, but I feel the changes were necessary to make everything work out more smoothly on piano. What I'm mostly worried still, would be: - key signatures: I received feedback before, that the original doesn't use F#'s everywhere, and so I decided to not use a 'default' key signature at all except for the bridge. I just added the sharps to each F individually where I deemed them necessary. I'm not sure if this is fine, though? Like, is it a good style to change key signature 'just' for the bridge? - playability: I removed / moved some notes to avoid ninth intervals, which would be unplayable by the vast majority of pianists. Now I still have parts that require you to 'jump' much of the bass clef up and down in quick succession to hit octaves though... Are these fine and should I keep them, or are they unnecessarily difficult and I should just keep the root notes? - dissonances: I feel like the last few bars of the bridge sound dissonant and annoying after a few listens. However, the original is kind of the same... Now, I increased harmony near the bridges end by using more complex chords / triads, which bother me because they seem to bring in the dissonances. Is this just a midi playback issue, and these triads in the upper treble clef area should be 'more simple' as they are at the beginning of the bridge (where treble clef chords consist of 1-2 notes max), or are they fine and I should keep them? - chorus: There are two chorus segments, and in the first one I intentionally omitted the octaves to reserve a more powerful effect for the second one. Now, does the first chorus sound too 'weak' to you, or would you keep it as is? - of course any additional critic / feedback is fine as well with me Thanks!

You didn’t write a septuple fugue as I suggested haha. I like the eerie feeling the microtones brought but at the same time it follows a strict fugal procedure so sounds even more eerie to me. Nice job and thx for sharing! Henry

I think the microtones in this case make the soundtrack more dramatic, which makes sense if this is for a lava cave. Also, nice use of repetition, adding to the ominous atmosphere. Fun melody from the electric guitar that would work well in an RPG. The only thing I may add is that, if this is going to repeat or loop for a game, maybe consider an instrument that isn't as harsh on the ears...although it probably depends on the sound samples you go for.

Well, I meant I like YOUR compositions, but I like OP too! Anything Classical and minimalistic. with craft that is not so obvious!

New here, and 56, so not a "young" composer, but I'm liking your music.

Hello @NicholasG! I think @Marius_ already got many good points and I'm not going to repeat what s/he said. You should be proud of it. Your orchestration and mood portrayal is very mature as a 16 year old and I like many of them. Your motivic usage is lovely too. I really like the ending starting from b.93, good preparation to it and nice rhythmic variety. Maybe for me you can also add more varieties in the harmony as well, since most of the passages are more diatonic and less modulatory and dissonance. Thx for sharing! Henry

Hey Nicholas, I like your piece a lot! It sounds epic, and you take your time with each theme, which makes it sound coherent and easy to listen to. I don't have any experience writing for large ensembles, so I thought I'd only give feedback on your brass writing (I play the trumpet myself). First of all, in bar 21 consider raising the second trumpet an octave. That will make it easier for the first trumpet to hit his note: it is easier to play when being 'carried' by the rest of the section - and that two-octave gap is to large to give that effect. (As written it will sound like a solo instead of team work.) My teacher used to say: 'Trumpet players are surfers. We surf on sound.' At certain points in the score you write divisi for the trumpets, horns and first trombone - but you assigned three players to each part (in the preface)!! Which of the two voices should get two players? Either split up in three parts or make a note in their score, telling them what to do. But also consider that your brass section is humongous (A dozen players on trumpet and horn): You can change the parts to avoid all divisi. E.g. after bar 102 you could give the trumpets the root and fifth and the horns the root and third. In Musescore this will sound just the same, but when played by a real orchestra all voicings sound distinctly different. Not having divisi also is less confusing - especially if your players don't get (many) rehearsals. Btw that 1.5 octave jump in bar 106, first trumpet, looks really scary... Lastly, from that same bar 106 your trumpets and horns are playing fortissimo - which basically means 'as loud as possible'. Therefore the four (!) crescendo's you write later in the part won't have any effect... Either tell them to take back before each crescendo, or don't write them at all. That'll conclude my oddly-specific-feedback : ) . I should tell you again - I'm no pro at all, and your writing already is really good. Don't take this as harsh criticism: I'm just better at pointing out imperfections than giving elaborate compliments :)). I really enjoyed listening to your piece! Kind regards, Marius