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Hello guys, I am totally new here and I am really impressed by discovering such an active forum with so many talents! I am really surprised, didn't know there was such a place on the web! Anyway, I am a youngish composer (31yo), I started composing around 2 years a go (but play the piano since many years). I have composed a good amount of stuff but my favourite is probably Math Piano Rock. This is inspired by Math Rock, a fast paced genre with frequent change of rythm and no lyrics (I hate lyrics!), but also Prokofiev and Bartok. The piece is *difficult*! The video below is performed by a software - but I have actually played it live a couple of times (you can see in my channel some videos where I do that, if you are interested). I am always looking to opinion, suggestions and ideas!

Exactly, I always over-orchestrate. This seems to be the problem that permeate all my pieces. Oh well, one day I'll learn how to deal with this.

Of course, it's a draft. But good and promising. Besides, your work encourages me to write using this languages, which I love... But being so unpopular, I haven't lately worked on them very much.

Wow, it's difficult to follow the score, split in two pages. I've listened to this 4 times. I like atonal music, and all its derivative systems. It's challenging to build a coherent work with this language. I think the introductory part is good, but it's not connected to what comes next. I don't know if you have the idea of linking it in some way. It's nice you establish an anchor with the three note motive (ascending and descending). Atonality needs this alternative methods to be coherent and not arbitrary. The entrance of the piano is quite good, I like its part. I assume the midi sounds are not the best. but it's enough to get the idea. One issue I would try to work more is dynamics. Those very long crescendos (endless hairpins) make not much sense.

The idea of it is pretty cool. I like how the beginning comes back near the end of the exposition, but it seems a little heavy handed at the beginning in order to achieve that effect. What might be cool moving forward is preserving hexachordal combinatoriality with the start of that figure horizontally and vertically, since you seem to already want to do that in places like mm. 21-23. Finding a way to invert that combinatorial figure vertically would give you a lot more early-position row forming down the line that all sounds similar.

1. This sounds pretty cool and I love it. 2. Your score confused the heck out of me and I can only assume the fault lies with FLAT. You're performing admirably under duress.

Hey my friend, One thing to consider is marking slurs on the cello part. I don't know if you are aware that generally, string players use slur markings to know how many notes to play with one bow. This can affect everything from volume to tone color, so for places like measure 9, think about a cellist playing that and whether or not you want them doing all four notes in one bow or doing maybe two to a bow for better sound. If you have thought of this and have marked accordingly, it's fine. I wanted to let you know just in case though. I was writing the above comment when the "He-Ya!" started; that scared me! Lol Very cool though. Also, the 5/8 bars are cool. Overall, I think this piece is really interesting and would be great fun to hear live. It's very imaginative, and I was looking forward to what came next the entire time. Great job!

I think he meant that he does that, too.