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With respect, a suggestion one could make is that you focus on one post at a time, especially if other forum members take the time to provide time consuming feedback.

Here my new composition. I have to thank @Markus Boyd, how recomended me the book MUSIC IN THE GALANT STYLE from ROBERT O. GJERDINGEN and it served me of inspiration. In this book you can find some of the harmonic formulas used in baroque music, like the Romanesca, the Prinner or the Do-Re-Mi form. The opening theme is in the Do-Re-Mi form, and that's why I named the piece like that. I highly recommend the book to anyone interested in the music of that period. Any feedbacks are welcome!

A waltz in sonata form can work. Often the 2 chords will be an inversion apart, but when the right hand gets into the bass clef, the chords are sometimes the same. The Root is usually at least a fifth down from the first chord, but particularly with the F major chord, I find that I can only do that when the melody goes up high. If it stays in the first octave, I have to have the first F major chord be in first inversion, a third up from the root. The hardest part I have found so far about composing this piece is having the rhythm of the Waltz and the form of the Sonata, while keeping the piece coherent. Will the bass stay the same throughout the entire piece? That's asking for bored players and audiences unless you can work a miracle with the right hand. I strongly suggest you have some variety. Also, why is there a problem with combining rhythm with form? If I asked you to write any other piece in sonata form, you would manage fine. Why is the waltz different? Please try not to make your piece sound blocky as is often the case with rigorous planning and a clear form. I'm glad that this time, you haven't written e.g: Measure 16-17: Second closing phrase which will move from ii to IV with a staccato bass line and some arpeggiated right-hand notes. That can make your piece sound rigid. I'll answer that with another question: what do you think of your idea of combining the rhythm of the Waltz with the form of the Sonata? Constantly asking us for advice is hindering your own creative process. If we had said we disliked this idea, I am fairly sure you would respond defending it (if at all.) Don't be afraid to try new things.

I like that you used cadences to lengthen a line or spin off new ones. Was that a topic in this book?

I love that. The arrangement totally fits with the character of your cycle. I think Cello is one of the most beautiful and expressive instruments (dark in the low register, gentle in the middle register and tense in the upper register). If I had time, I would learn to play Cello. Thanks to post it @Tónskáld!

Thanks, Jean! And I especially thank you for taking the time to review these before I posted them on here! You're not only a great composer—you're also a great person! 🤗

Gosh, it's incredible to see how this turned out. The fourth movement is probably my favourite. They all sound very lyrical, and precise. They are also very particular to your style, which is a huge compliment. You have a well-defined direction in your music, and the way you use juxtaposition is impressive. In most of your pieces there are very clear cuts between the parts, and they don't last very long. However, it all sounds just right. Congratulations, Jordan, this is amazing.

Cool! I'll check it out as soon as out 🙂 Thank's for notifying me!

Hi @luderart -- I enjoyed your pieces. The main theme was flowing and beautiful, and I think you did a good job of differentiating it through the various movements. I think you may have followed the rules of the competition better than anyone. A solo melodic line is a bit spare for my taste, but I do believe that is a matter of personal aesthetic / taste. Overall, well written and well done!

@Gustav Johnson -- Thanks for listening! I'm glad you liked it. You're absolutely right about the volume issues. It's one of the things that had to be just "good enough" because of the time constraint, which were exacerbated by me being indecisive and/or unproductive during the time allotted (I posted it like literally at midnight on the deadline day, lol). I'd say the other thing that got the "good enough" treatment was the final movement, which I intended to be a bit more grand and larger-scale. I'm glad you liked the concept of that movement, though. You're also correct about the issue with No. 4, with the piano not taking the lead enough (and in fact, this always happens to me when I write for piano and a solo instrument). Our friend Luis Hernandez has mentioned this to me once before, and I'm afraid I've probably disappointed him again, lol. Thank you for your detailed review; I really appreciate it. @LayneBruce -- Thank you for listening, and I'm glad that you liked the mazurka! (Note to self: Write more mazurkas)

It's bold and dramatic, and I appreciate the amount of work that goes into orchestrating a musical piece of this size and scope. It seems as though you tried hard to balance the 'dark and dramatic' with the 'bright and lovely', if you know what I mean. The second movement is the best to my ears. That said, there were some harmonic choices throughout the whole of the piece that I didn't really "get" or agree with, and parts of it seemed rather 'helter skelter'. Overall, though, I'd say this is a work of impressive scale, and a solid entry. 👍

Really nice. I like your sense of harmony, which is on full display here. The first movement is frantic and exciting. Then we have a complete change of pace, which is nice. Overall, it creates an awesome, kind of 'spacey' atmosphere between the piano and the effects, especially in the later movements. I really like that style of writing for the piano -- I wish I were better at it. Well done!

That was quite a journey! After listening to that I really do feel as if I got drunk, was conked on the head, hospitalized and nearly died! 😋 Jokes aside, this is so interesting! I love the version with the effects, it really completes the experience. Now that I've specified a favorite part on multiple submissions it feels like I have to keep going. Fourth movement takes it for me! Great work, Gustav! This is such a creative entry!

Jesus, man, how much are you paying for this?

In the Musical Games forum, somebody suggested the idea of having a group write a piece, where each person writes a specific part, and only that part. If the host says, let's write a string quartet, everybody writes their own part to it, one person writes 1st violin, another writes 2nd, another writes the 'cello part, and so on. I think it's a great idea, but unfortunately I won't be able to partake in such an activity until furthur notice.