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@Wieland Handke Apologies, I didn't think anyone would be interested in seeing the score. In any case, here it is.

Hello @Luis Hernández, I’m sorry, but today I’m writing only silly comments …. For the first moment I thought it were a piano exercise how to play a crescendo on a long, tied note and how to perform a tremolo just on a single note … 🤣 But no, its seriously! And your solution is a great example what can be done with orchestration if the underlying piece of music (or sketch) is well crafted! Thus it shows, that one should first compose the piece for piano (for example) or for a small ensemble before going to the full orchestration. (Unfortunately there was no score and reading from the video was a bit uncomfortable, since relatively small ...) Very enjoyed.

Thanks for the comment! I’m sure there could be plenty of changes to do, however, this work was one of my earlier attempts at writing for the orchestra. A time before I got any composition feedback from any mentors. I thankfully won a competition and spent a week working with composer Robert Bradshaw. During that time, he gave me tips on voicing, orchestration, and understanding tessitura. My rewrite was not to completely redo the work but polish it with the new information and techniques I learned. So, while I appreciate the feedback, I will not be rewriting certain spots in the work as I still want to keep it as is to show my growth overtime.

This is an orchestration exercise, and my solution.

This is a very well constructed piece! I think it's a little too on the "safe" side. When I envision a piece about storms (be it Vivaldi's Summer, Beethoven's 6th, Alpine Symphony), I want to hear rapid scales (especially in the strings and woodwinds), wild tremolo in the strings & percussion, and more dissonant chords in the brass. Maybe I'm biased after listening to those pieces. I think the D major section (starting around 94) is too similar in terms of orchestration as the beginning. I think this should be more brighter sounding, maybe with some instruments playing an octave higher than written (for example violins/violas in 126). In general, a little variety would help differentiate this section.

ok, I worked on it and gave it a MUCH needed improvement. this is what is it looks like right now. I honestly don't know what to do next, and I'm curious what you guys think, or if I should add any new instruments for either The next part or the part I have right now. to note, I also want it to be ~3 - 4 minutes long. This song actually came to me about 3 years ago, before I even knew what a "sharp" was, and before I started composing music. I Don't know how I still remember it. back then I thought of a lot of melodies in my head when I was bored and learned them on my Piano; now, I mostly play piano and if I play something I like, I continue it with my software, FL studio. I got really confused when I realized in the old one, after the intro it changed to C# and I thought the intro was D# so I changed the chorus to that, but apparently it was A# anyway. small mistake, big difference. anyway, here's how the progress is going. take a listen.

Hello! I just finished listening and it's a very nice piece to listen to. However, with some things, I feel there are comments needed to be said: 1. You say Violin Concerto, and I must be honest, this is not a Violin Concerto. If you focus on the literal definition, it means solo instrument with orchestra, which you have achieved, but not once did you convince me that the violin is the true feature. It's like an orchestral piece for a movie soundtrack with a nice violin solo to match... akin to Schindler's List by John Williams. Concerto-style implies that you are highlighting the solo instrument, whether it's through virtuosic writing, or a distinct melody with light accompaniment. Instead, you have the solo violin dancing around the accompaniment textures versus a distinct and clear melody. 2. It would be more accurate to title this "[Title] for Solo Violin and Orchestra" versus a concerto. 3. It is very nice sounding. The textures, instrument pairs and gentle writing make this very nice and enjoying to listen to. You are effective in the execution. 4. The "Movements". You noted the start and end of each movement in a non-standard way. It reads as if they are attacca, or played back-to-back with no break. Overall, I did enjoy the listen. However, when you double-down on definition, I feel it misses points and does not truly match the caliber of the word "Concerto". Good work, and hope to see more!

Nice and comforting! What piano sound? Also there are musical markings to indicate playing 'freely' such as rubato and expressivo, etc

Hey @therealAJGS! I like the Locrian inflection in this bass line you've come up with! I think the tambourine works but the drum kit is far from how an actual drummer would play. Improving your drumming patterns could really help this instrumental. Check out this video if you haven't already: Also another thing - I used to participate in an online monthly music contest website called midi-contest.com. It's now defunct and doesn't exist, but the owner of the site put a minimum duration limit on all submissions to the contest - 1 minute 30 seconds. As far as he was concerned everything under that duration was total trash! LoL From then on I've always tried to make my pieces at least that long haha. Thanks for sharing!

I started writing little melodies at four or five. I'd been surrounded by music and instruments through my whole life, and so of course I wanted to give it a try myself. Didn't really consider myself a composer until I was around eleven, though. I don't know what my experience level is really. Basically I know nothing about harmony, although I have a much better idea of what I'm doing intuitively than I used to. I'm up to string quartets and at least one attempt at an orchestral piece. Getting there! * grins *