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Hello @Alex Weidmann! Nice mysterious Prelude! I'm surprised that @Henry Ng Tsz Kiu hasn't reviewed it yet since it's in his favorite key! 🤣 I have a few technical nit-picks: I've recently changed the way I write for piano through Musescore Studio 4 which I think might benefit you to hear about. If you favor the Musesounds Piano as I now have come to prefer, then in order to have more control over balance between the most important melody notes and less important background chords/figurations, you could actually load up two (or more) separate pianos and change the way they're displayed in the Layout section of the program (by deleting the bass clef portion of the right hand piano and deleting the treble clef portion of the left hand one). Then, not only will you be able to change the balance between the hands in the mixer, but you'll be able to give separate dynamics to each hand - an amount of control which you would lack with just one grand-staff track. Although you'd have to put in pedal marks for both tracks, and hide them in the top track. As well as hiding dynamics that are redundant. But I think bringing out the most important notes in each chord and passage will greatly improve at least my impression of the work. Another thing is the tempo. I noticed that you're trying to create a sense of novelty through the use of unusual rhythms and meters. I think it could be even more effective if you included an ebb and flow to the tempo by simulating a sort of constant rubato with choice accel.'s and rit.'s here and there. I can refer you to examples in my own catalog if you'd like, where such rubato gives a very satisfying result (at least in my opinion) and cases where the piece would suffer greatly from the mechanicality of the rendition if not for the rubato. Some places to consider including an accel. and rit.: bar 30 accel. into 31 I think would be a nice paired with that crescendo you already have. Other than that, nice job! I also question the interruption of the expected 4/4 flow of the beginning melody with the 9/8 measure - I think that's unnecessary. Thanks for sharing!

Very nice dreamy, yet mysterious and passionate prelude! I like the frequent changes of the time signature. While initially looking complicated, the rhythm of the piece has an intuitive pulse and a continuous flow. I noticed, that your score is without a key signature. But since you often change harmony from keys with sharps to keys with flats, this decision avoids that the score is cluttered with natural signs. And when listening and reading the score I like that the more serene passages correspond with the flats, while the more passionate passages feature more sharps! In some bars, I would like to see more octave brackets to make it easier to read when playing. Personally, I refuse to read more than three or four ledger lines. However, I agree, that too many octave brackets disrupt the visual impression of the runs in the score. I completely agree with @PeterthePapercomPoser's suggestions for improving the recording by “fine-tuning” the articulation, dynamics, and tempo for each individual hand or even voice. Since I do this with my piano works, I know that it is a lot of work to literally maintain two scores, one for the printout and one for the recording. But it's really worth the effort to achieve a sound that is much closer to a live performance. Thank you for sharing!

What about 'better than Peter'? @PeterthePapercomPoser

Hi to all my fellow musicians. Here's my latest piece for piano, that I spent the last two days writing. Haven't quite finished the phrasing and dynamics yet. I may possibly extend the work; but I'm not quite sure yet. Hopefully I haven't accidentally stolen ideas from other pieces I've heard? I know the initial chord progression of C#m to Am(maj7) came from a You Tube video; but can't remember which piece they were discussing. (Pretty sure it was from a film score; but can't remember which one.) Anyway, hope you like it. I wrote it for a concert in May. P.S. Can you guess which composer inspired me to write this? (N.B. Revised scores will be posted below.)

I'm on a trip lol

It's been too long! I thought I would share this piece written for my theory and composition class at Berklee. We were asked to work with a couple of "exotic scales" from a selection including the whole-tone scale, the octatonic scale, and modes other than those derived from the major scale. I felt drawn to the Lydian Augmented and Spanish Phrygian modes. I ended up with a contrapuntal rock instrumental in rough ABCA' form. The A section is in B♭ Lydian Augmented, the B section is in G Spanish Phrygian, and the C section an unbroken transition into D Spanish Phrygian. Finally, I modulate with the common tones D and A back to B♭ Lydian Augmented, for the A' recapitulation. The title (Iridescence) was inspired by my understanding of modes as a concept. With many modes sharing the same collection of notes, the tonic note that each mode centers on is what makes it unique -- gives it a unique color. And, iridescence is when something appears in different colors depending on the angle of viewing. I see that as a fitting metaphor. The artwork is my own, made with ProCreate. I didn't paint it for this track, but as a birthday present for my mother, inspired by Kate Bush's song "Kite". She is a massive fan of Kate's and introduced me to her when I was a little girl. I rediscovered her recently and I've been spending a lot of time with her early work. My current favorite album is Never for Ever...whose influence I thought was bleeding into this track. So, in the end there is some relation. 🙂 I hope you enjoy! Any feedback on both the mix and composition is more than welcome. ~ GP P.S. I was required to include a detailed score for the assignment. It might be too precise for a rock track in general, but if enough people are interested I will upload that, too.

I think I got the idea for n.2!

On playing this through myself tonight, I noticed a few further corrections and cautionaries that were required. So here is my latest version of the score.

Noticed a few hand clashes and enharmonic spelling errors today: so here's a revised draft. Also made a tiny change in Bar 8 (left hand). Hopefully better? It's still a bit of a beast, with awkward hand-crossings; but I wrote it for someone with great technical skills!

Oh sorry 😔

Hello I've recently decided to take orchestration seriously. Just as I did with counterpoint back in the day... Yes, although I study on my own, I have always been self-taught, at some point you need guidance from an expert. So I am taking a course in orchestration. It is really for a very small group (only four people), which means the feedback is very powerful, as each person's work is reviewed in depth. I've learned a lot about the classical style (paradigm: Mozart). Why and for what purpose each thing is used. And here I share my version (reviewed by my teacher) of the orchestration of the first movement of Mozart's Piano Sonata No. 5. Now I'm working on Mendelssohn.

I just had a really dumb idea, that's all. https://www.veed.io/view/1666613d-b7f2-40da-8444-d9c0ecb3484b?panel=share

It's a G minor 9 chord! Did I win?!?!?!