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This is the third and final movement of my Piano Sonata no.3 in C-sharp minor. It’s probably the most perplexing movement of music I have ever composed. For me it’s a struggle between Beethovenian heaviness (Es muss sein!) v.s. Unbearable lightness of blues (trying to imitate the style). Even though the first and second movement of the same Sonata has been commented as “random” before, I believe this one the most random of all haha. I once challenged myself whether to keep the eclecticism of the movement or not, but decided to leave it unchanged since all the styles were what I was thinking of and feeling at the moment. Here are the previous movements posted on YC before: 1st mov: 2nd mov: Piano Sonata no.3 in C-sharp minor 3rd mov.pdf The structure of the movement is a bit weird for me. It’s in Sonata form but the exposition and recapitulation never leave tonic key C-sharp minor at all, as the contrast of the 1st and 2nd subject is not achieved by key, but by style. In fact I only realized I was going for a Sonata form only when I almost finished the development section. Here is the structure of the movement: 0:00 Exposition, 1st Subject, 1st Theme: The falling fourth motive attacks immediately at the start of the movement in a passionate fashion, reminding himself of the pain he suffered after the more serene 2nd mov. It cools down in 0:31 and even keeps denying (or rather me denying my own sadness) by German sixth harmonic progressions, instead of normal dominant-tonic progression. 0:59 Exposition, 1st Subject, 2nd Theme: A deliberately repressed theme consisting of the inversion of a fourth, i.e. fifth, later gets more agitated with the Chopin Revolutionary Etude like L.H. accompaniment. It keeps on boiling until reaching the transition. I got crazy there thus I wanna try escaping… 2:28 Exposition, 2nd Subject: This section is made of 12 bar blues elements, thx to Arjuna’s @expert21 suggestion, although I already originally wanted some nihilistic jazz elements to contrast with the heavier 1st Subject. The pattern is repeated thrice, first just the “accompaniment”, then with the falling fourth motive theme added, and lastly an “electric-guitar-like” melody thx to of course my buddy Vince @Thatguy v2.0, as I won’t ever try to write something in jazz without his piano preludes. The locrian melody of course is a quotation from the 2nd mov opening! 3:46 Development, 1st Part: The opening falling fourth motive attacks again and modulates to keys I didn’t where it would go when composing lol, and finally reaches C# Locrian which confuses even me! It ends with a bridge of the locrian in L.H. quoting a little of the blues theme to the next part. 4:48 Development, 2nd Part: This part first develops the 2nd theme of 1st subject, then ends in confusion again. Suddenly a new theme emerges in the distant E-flat major and repeats again in relative major E major in a more passionate manner, until it boils down to a marvellously passionate retransition in 6:39 which I believe is the most beautiful section of the entire movement. It’s by composing this passage that I knew my creative power had finally come back. The passage ends in a desolation which leads back to the recap. 7:17 Recapitulation, 1st Subject, 1st part: A weird section. I finally could not refuse to admit my sadness by having a normal dominant-tonic progression, but still tried to escape by quoting the reminiscence of the blues themes like in a film montage jump cut in a Godard style (or, Stravinskian juxtaposition). 8:40 Recapitulation, 1st Subject, 2nd part: The 2nd theme of the expo 1st subject reappears in the L.H., and then a beautiful variation which I was probably laughing at myself for my weakness. The music goes on and gets more agitated until going to the 2nd subject. 9:32 Recapitulation, 2nd Subject: The previous “light-hearted” blues theme is transformed to an enraged Rachmanioffian roar. It subsequently cools down and tries to go for hope in the coda. 10:18 Coda, 1st Part: I tried to find peace by quoting the beautiful theme in the development plus 2nd mov’s 1st theme in counterpoint, repeat twice, 1st time in major and 2nd time pentatonic. The Locrian theme in the exposition is then transformed to a pentatonic plus the blue note of flattened sixth, signifying my attempt to find peace… 11:16 Coda, 2nd Part: However it’s futile. I realized that my sadness could not be “transcended”, at least not here, and finally realized my pain. The heavy falling fourth motive keeps attacking, and finally I was able to make a simple dominant-tonic chord progression to admit my pain, when the question is laid unanswered from the beginning of the entire sonata. The movement and the whole Sonata ended in utter desolation, as I had no energy anymore to fight as in the 1st mov and 2rd mov, nor create an imaginary utopia for myself as in 2nd mov and 3rd mov… The movement was primarily composed from Dec 2024 to Jan 2025, under a state of depression and confusion, due to what I had suffered in my full time job. I struggled a lot whether I should have a happy or sad ending for the whole sonata, but my mind gave me the answer. I could not pretend to be happy or hopeful at that time by forcing a meaningless Picardy-3rd at the end as in many of the Romantic Sonatas or pieces. I had to admit my sadness then. Paradoxically by doing that, I left all the negatives here so I had the 200% positiveness for my Sextet, which is my best piece and probably the most optimistic piece I ever composed. I tried my best at playing the movement already despite some slips haha. Hope you enjoy the movement and even go back to the 1st movement to listen to the whole Sonata! Thank you for listening,and possibly reading through this and commenting!!!!! Btw, here's Vince Preludes which inspire me: Prelude no.7: Prelude no.9: Prelude no.3: Henry

Thought I'd join in as well!

Interesting. Your version sounds great. Although for me, that Gb “desperately calls” for an F#, which is part of the dominant chord. Best regards.

Lately, I've been thinking and imagining how Ancient Greece was reinterpreted in Impressionism. And well, all of that inspired me to write something. The dawn is that moment before sunrise when there is already light. For a brief explanation of what resources I use: Aurora

Thinking, "I should write a theme first and then a contrasting one," is exactly the sort of thinking about form that he is discussing. You sound like you are well on your way to thinking about the large scale issues with a piece, rather than just writing note by note. It sounds like he's talking about how beginning composers just sort of work from one note to the next without any rhyme or reason. There may be no theme at all, just a random succession of notes that they liked for five minutes straight. Everyone works one note to the next, but the more experience you have, the more you'll be thinking ahead about how to organize yourself in the choosing of those notes. Thinking, I have a fast section, so next I should have a slow one for contrast... that sort of thing. Or, I'm going to have range issues if I give this bit to that instrument without modulating. Do I want to modulate, or do I want to give it to a different instrument... And he wants to suggest some simpler exercises to get you started thinking about these sorts of things before you decide to write a whole symphony. Use fewer instruments. Write a short theme and see if you can turn it upside down. Practice writing a fugue. Also, Schoenberg is writing in a way that makes him sound like a big smarty pants so he can scare you into doing your homework, so don't be intimidated into a state of confusion, just do the exercises. (My best guess at what he was going for at any rate).

Not sure if this is the right place for this post, but I came across something, quite simple but still fun. Was browsing youtube and stumbled upon a video. At the very beginning, the creator presented a 4 bar line of a Violin melody. (I've altered it a slight bit to make it a tiny bit more interesting. the original challenge melody reused the 1st measure, except with the same 4 32nd notes you see at the end of bar 3. I elected to simply change it to Gb, rather than staying on the G. I also included an ending 1 and a fine measure to sort of round it out a bit more. Here is the Challenge Melody): The instrumentation to be used for this challenge includes Vln. 1 & 2, Viola, and Cello. 4 Staves, with Vln. 1 already written for ya. Just curious to see what everyone else comes up with 🙂 Here is mine! I'm not a virtuoso or a master so mine will probably pale in comparison to some of yours. Lets see it! Harmony Challenge.mp3

Hi to everyone. This week I've been working on an exercise to orchestrate Debussy's Prelude No.6 from Book 1. I came up with two versions, one with a very restricted instrumentation, and the other with a larger ensemble. Interested to know which you think works best? The final bass dyad was very problematic, due to its extreme low pitch. It sounded too intrusive and twangy in the harp, and seemed off-pitch in the double-bass, with a horrible grating timbre. Eventually I decided to remove the lowest note altogether in the version with restricted instrumentation, and have the upper note pizz. instead of arco.

Hi everyone! This is my first piece for full symphony orchestra, first post, (and my first "completed" composition: a lot of firsts), and I'm definitely still learning how to orchestrate better, create nicer textures, and pace my compositions/develop melodies (all for fun, I just like listening to music and playing a little bit haha, so I don't have any formal composition background). This piece was inspired by various Romantic composers (with quotes from my 3 favorite symphonies--one is really obvious but I'm interested to see if others will recognize the snippets I tried to include) and includes two central themes. I'm open to all the advice I can get! Thanks for your time! PS. my score is really chaotic and I still need to clean up all the accidentals and stuff.

Nice piece! It makes me think of the C418 minecraft soundtrack. Yes, it does feel static, but personally I don't mind that at all. Although the best moments are when you break that staticness, like in bar 30-something with the sixtuplet. I like how you - when using the same chord for two successive bars - thin out / change the texture. Well done! Kind regards, Marius

Hello @A Ko and welcome to the forum! It's so fun that you snuck in some themes from other composers' works! At around 4:10 it sounds like you're quoting Mahler - Symphony 4 or 5 perhaps? It's amazing that your first finished composition is this long and for orchestra - congrats! Incorporating other composers' melodies in your own works smoothly and seamlessly is quite a difficult endeavor and it gives the listeners a fun little Easter egg hunt to go on - very clever idea to involve the listener in the listening process in yet another additional way! Thanks for sharing!

Made this account just so I could upload this and remind y'all never to end in minor : ) Also accidental Shostakovich in bar 3.

Hi! I'm new as well. I really like your piece - it has wonderful harmonic turns, it feels very well thought out. I especially like the really smooth key changes, and the part after b.24. The melodies are less recognisable, but I think it kinda suits the style. I think the playability is something you could work on (if you ever want a real orchestra to play it). First of all I'd try to change the key: probably to Eb and D instead of Db and C. You'll run into range issues doing that, but no-one likes playing with 5 flats. Whereas 3 flats is really nice for the winds and two sharps are nice for strings. Furthermore you might want to keep in mind that ppl need to breathe.. I'm mostly talking about the last note in the horns - I think it's possible, but it is a veeeery long note and also playing that pianissimo will only make it worse - you risk the sound getting quite shakey bc they'll be out of breath, and that will be very audible because no-one else is playing. Also the accel. from b.30 onward will be difficult to keep consistent. When performed it won't be as gradual as when done by a computer. Idem for other long gradual tempo changes. But for a professional orchestra these things would be entirely possible. And musically it's really good. I should say I don't have much experience reading scores or conducting so I don't know if this would be balanced at all - although I think so. My favourite moment is b.55 - really nice melody there! Kind regards Marius P.S.: Gershwin was really obvious. I think I heard some Sibelius 2 (mvt. 4) with that syncopated background and rising melody, but I'm not really sure. I didn't catch the third quote.

Henry, I apologize for taking so long to reply to another great piece of yours. After many repeated listenings, this is clearly a programmatic piece in my opinion. There is anguish, anxiety and a false sense of repose. The juxtaposition between light and heavy themes, minor and major works effectively to convey the message of your piece. I have a few reservations about the random pauses that come after the blues. I feel they interrupt the flow at times, and as for the blues itself I think the f double sharp in the theme would sound better if it were changed to a g sharp. Those are just my thoughts tho; the climax and the aftermath of it is quite well done. I am glad you were able to find peace and transcendence in your sextet.

Oh hey I like the contrabassoon idea, it's so rich in the lower register. Perhaps the easiest and right solution. Would it be so weird to have the piano with the orchestration? You mentioned harp, percussion, bells, etc., maybe the piano (or synth?) could be used as an accent/effect instrument in the ensemble. It could play the low notes of the final bass dyad in question, but just a random thought. Orchestration is really cool, and it helps I love Debussy haha. Nice work!

A minimalistic version I made Enjoy! Counterpoint Harmony Challange.mp3

Alex - overall both are very good orchestrations of the piano work. After listening to the piano work, I found, I missed the resonance of the lower notes vibrating (pedal). I'm not sure how to reproduce this quality in the lower winds and/or lower strings etc. Mark

Hi @kaiyunmusic! Really like this vibraphone like electric piano piece. I agree with Peter, the piece is more in 6/8 than in 3/4 since the dotted crotchet is the basic unit here, rather than the crotchet. Nonetheless, I enjoy very much the serene mood here. Thx for sharing! Henry

Hello @Vladisove! Welcome to the forum! I didn’t read your post at first, but I recognise the opening of the 1st piece as really Sibelius like with that particular Scandinavian colour, like use of harp and pizzicato and winds in high register. The thick brass in 1:50 has reminiscence of Wagner before returning to Sibelius Woodwind. Really love your woodwind usage here, particularly the English Horn. The D minor 2nd piece is really ice-cold just like Sibelius’s work. That English Horn/Oboe entry is amazing for portraying the bitter and cold mood. I love the vocal too, even tho I don’t know the lyrics. The ponticello tremolo opening is captivating. I love these mood here, though I think for a 10 minute piece it can introduce more memorable Melodies to sustain the interest throughout the piece. However I love the ending very much especially it ends in my favourite C sharp minor and F sharp minor. I love these pieces and they are amazing especially when you don’t receive formal music education. Maybe for me I would love to have more contrasting mood in this suite, since they are more or less in slower tempo and minor key, portraying the cold atmosphere as in Sibelius’s work. Thanks for joining and sharing your work! Remember to hit the like button under my comment so that we know you like my comment haha! Henry

Thank you for your instant response! As I am new on YC - it is like attending a house music concert for the first time where all other guests are still unknown - it is very pleasant to be welcomed warmly by the host (according to my reading of a number of the latest posts I have noticed that you are very active in replying to new submissions and as you are one of the „Moderators“, I consider that you are one of the „hosts“ among the YT community). I will take a more thorough look at your profound comments concerning the composition of my fugue as soon as possible. The applause at the end - I know it's a bit embarrassing, but I added it for technical reasons, because I often had the problem that videos on iOS devices were cut off when there was only silence at the end, and one wants to hear of cause the final chord after all. You have recommended to follow @Fugax Contrapunctus. Interestingly, I’m already a (still silent) follower of him on YouTube and I found the YC website only due to he has linked it in its YouTube profile. I’ll watch his fugues (an your own, linked one) in the next time a bit more thoroughly to be able to give a reply, too. Greetings from Wieland

A new poetry from the same Laforgue I can post the poem here, which is a beautiful black diamond (an automatic translation but quite close to the meaning) As always at Laforgue, irony, tenderness, idleness of an impossible platonic love We know that he loved a young Englishwoman with no return, and I think it was she who inspired him his most beautiful pages, here in the evening of his short life. Thank you for your reviews and comments! Ah! tonight, my heart feels sick, my heart is with the Moon! O veils of silence, spread out your still lagoons; O rooftops, terraces, basins, loosened necklaces Of pearls, tombs, lilies, grieving cats — give praise To the Moon, our Mistress to all, in her glory: She is the Host! and silence is her ciborium! Ah! how good it feels, oh! so good and sweet, in the halo Of mourning around this finest diamond’s glow! O Moon, you may find me a bit romantic, But tell me — now and then, wouldn’t it be frantic To think — just between us, and only if you please — That I could be your Columbus, on my knees? Well, let’s not speak of that; let’s chant the midnight rite, Preserved in alcohol, steeped in your delights. Slowing down towards us, O weary City, Fibrous cell with broken organs, withered pity! Remember the centaurs, the cities now erased, Palmyra, and the snub-nosed sphinxes of Thebes the chaste; And what Gomorrah, beneath your Lethe lake, Hides catacombs in honor of barren Astarte’s sake! And how mankind, with his “I love you” clichés, Is much too anthropomorphic in his ways, And knows only how to muddle through his days With hellos and goodbyes while twisting love his way. — Ah! As I was saying, and more than once or twice, That my heart is sick — my heart is with the Moon, precise.

Hi @BipolarComposer! I really wanted to try and give you a constructive critique for this one. I think there are many pros to this piece: It has a mysterious and dance-like feel (especially with the percussion). The orchestration is differentiated and you achieve some nice contrasts! The melody is harmonized in very interesting ways including doublings at intervals that are different from the expected 3rds and 6ths, sometimes including whole chords as a doubling, other times 4ths and 5ths. Some of the cons (imo): The orchestration is sometimes very thin and at other times very thick and bombastic with seemingly no middle ground. Some of the instruments aren't being used very idiomatically (such as the pizzicato strings). The piece sounds kind of same-y dynamically and intensity wise. The dynamics and intensity only change by adding or removing instruments rather than creating crescendi or decrescendi. (Not sure this really applies after my 3rd listening.) The tempo could also stand from accelerandi or ritardandi in choice spots to help the music arrive at a point of higher intensity or recede from an intense section in a kind of denouement. The piece lacks to me the lucidity of say, a Beethoven Symphony movement. The melody seems to meander here and there without unity and relatedness. I think the go-to example for how intense a melody can be if it's masterfully unified is Beethoven's Symphony No. 5 1st movement. He builds the whole movement out of that single motif. Even the longer leading melodic lines are constructed in fragments out of that motif, blurring the line between motivic and thematic composition. This piece in comparison, sounds at times very leisurely at best and meandering at worst because it lacks that drive and unity. The ending as well is kind of a throw-away because it doesn't feel like the music has taken the listener on a journey and so the piece ends very underwhelmingly. The formal sections of the piece seem to all be in the same key and so kind of blend together into one long section despite the many contrasts you introduce. That's my critique, although of course I really enjoyed the piece! Thanks for sharing.

Heh thought you'd notice! I really want to listen to you guys' pieces since you and @Henry Ng Tsz Kiu has been commenting constantly on my pieces and others, and I've only listened to a handful of you guys'. I've honestly been avoiding listening to this piece cus I had thought that there's a lot that I could change and all that. For example, I'd probably tone down the flute's high notes since it's so frequent and a reply here has pointed out that too. But honestly, it ain't that bad lmao. And hey, I wouldn't mind a concerto arrangement, but I think this chamber instrumentation suits it more. You're exactly right. And that's exactly why some of my older scores are just atrocious with pitch spelling, cus I was a dummy and had not figured how they worked yet, even here too in some places! It is one of the reason why I want to revise some of my older pieces. me when sleigh bells It's "Carol of the Bells." The first theme is loosely based on it, the sequence starting from b.122 has the rhythm, and the actual quote appears in b.193 Thank you for all the kind words!

Even though my application is still under development, the idea is that Music Jotter can translate the AI text notation from ChatGPT or Gemini to actual notes. This saves the end user the pain of having to notate the AI's response output manually. As far as I know, there are no other tools that can do this at the moment. So you literally are at the only place that can give you somewhat of what you are asking for. The problem, is that ChatGPT and Gemini are not trained on classical music, they are all purpose llms. I would love nothing more than to develop my own llm down the line, and train it on Chopin, Mozart, Beethoven, and other music, but hey, maybe if I can convince some AI investors down the line that we need this technology, this can be doable! But as of this moment, you can describe music and get textual output (even fun chord progressions!), where Music Jotter will convert that textual output into playback sheet music. My latest 2 videos on my channel are dedicated to this.

Hello @schedevrant and welcome to the forum! I am not too familiar with chatgpt, deepseek, or grok or any other AI tools for that matter.. but the owner of this forum @chopin is developing a notation software called Music Jotter that is able to take data generated by AI tools and create music. He's showed off the capabilities of AI tools and Music Jotter and what they can do on his YouTube channel - Can ChatGPT compose like Chopin? From what I understand, since ChatGPT and Gemini can understand midi data you feed it and output midi data - you can import it into notation programs and see the notes etc. That's just my understanding of the AI capabilities though. Can you maybe talk more about the difficulties you encountered in realising midi data output from AI tools and opening them in Musescore or other notation programs? They can export their files as midi even if PDF, jpg or mp3 isn't a format that ChatGPT understands, right? And thanks for asking! I'm sure many people will find this topic useful. And hopefully some of what I said will be helpful!

Hello @L.S Barros and welcome to the forum! Nice sonata! I assume (you can correct me if I'm wrong) that this is a sonata de camera? I love the constant exchange between major and minor mode that is so characteristic of music in this style, with all its Picardy 3rds (as I learned on your server). I do wonder how it would sound if you tried reversing the pattern - like, what if a phrase in a major mode ended on a minor chord? Or maybe you or some other Baroque-style composer already do this? I get the sense that this is a dance and is a piece that could easily be danced to in real life rather than just being a dance form that evolved out of an actual dance but is meant to be just an instrumental (which is why I'm guessing that this is a sonata de camera). Thanks for sharing and I hope you find this forum to be a good platform to share more of your works and participate by listening to other composers' works and possibly reviewing them! Kind regards,

Thank you for your two very touching comments. The 5/8 has actually imposed itself, in the double idea of constant imbalance, of a shaky race towards an impossible love. I didn't want it to seem like a free rhythm game (and I almost didn't want it to be noticed). And you have indeed perceived the subtexts that are in this poem, where we are already on the edge of expressionism. His tensions where the carnal and the metaphysical are tied. The entire last cycle of Jules Laforgue (imitation of Our Lady of the Moon) is haunted by this theme. An exile of love, a mourning of love, a throbbing pain, a frustration, and a feverish incandescence. He was probably already very affected by tuberculosis when he wrote this, since it was shortly before his death at the age of 27. And also well seen, I like to sow here and there some "turns" among other secret messages, which are a little Schubertian necessarily (when you have a piano, singing, you want to talk about Love and pain, how else?). Thank you in any case for your deep listening. It makes me immensely happy to know that my music is heard by such benevolent ears. I'm not done with Laforgue...

Hello all! I'm here with another piece, this one titled "Raptors in the Grass". As I composed this piece, the imagery I "scored" in my mind was a chase scene, leading to a moment of unreliable calm, that leads to a dramatic end! In my mind I imaged scenes akin to those in the "Jurassic Park" franchise with Raptors hiding and chasing through the tall grass. For this piece I am using a new VST. This is composed entirely using Native Instrument's Symphony Series (which is on sale at the moment at steep discount.) This was my first composition using the more advanced articulations and options available in this set of instruments and I am excited to get to do more. I was extremely pleased with the quality of the samples and how they come across in this piece. I tried to capture more momentum, especially in the first half. Wanting to keep up that "chase" but continue to vary and change the sonic environment to fit the changing actions of characters, such maybe getting in a car and driving or trying to fight back. With that unreliable calm coming in at the second half and a final crescendo when our characters get surrounded by the beasts they were trying to avoid. I would love to hear your impressions from listening and what story it tells for you. Looking forward to the feedback and hope you enjoy the listen.

大家好，我是张文浩，来自中国的创作歌手。今天是儿童节。在这里我想和大家分享一首我创作并演唱的R&B情歌《童话》。祝每一个听到它的人每天都能像童话故事一样快乐充实的一天。 大家好，我是来自中国的创作歌手张文灏。今天是六一儿童节，在这里大家分享一首我创作、演唱的R&B情歌《童话》，祝福听到的人们每一天都过得像童话一样开心、满足。

Its been a while since I've posted anything here, I've actually been quite busy in my new life in São Paulo (moved from Brasília to São Paulo this year to study with the principal clarinetist at the São Paulo Symphony), and I'm sad to not find enough time to compose as much as I did in high school. Anyways, finally, after 4 months here I finally managed to complete a work. I'm quite satisified with this quartet, since I believe I'm getting closer with each attempt to an authentic romantic work. Please, have a listen, and tell me what you think. Nothing matters more than the listener's opinion!

I don't think the music is that great. I still have a long way to go. But I'm having some interesting and rather effective ideas. Keep in mind that I started designing this thing from scratch less than half a month ago. So obviously it hasn't attained anything approaching its final state. EDIT: My goal was to be able to take a simple melody and have this program do something elaborate with it, something that preserves the melody's governing role and its status as initiator and foundation. That's basically what I've been doing so far, with ever greater precision.

It's great you have a great confidence in your own works. For me personally I like your earlier music than recent music written from the program, as for me the earlier music sound more beautiful and have more varities than the recent ones when the timbre of those program music are a bit piercing to me. But that's personal and I'm sure you won't mind my very personal opinion, given how much you like your own music. Henry

I agree, the piece I posted most recently did have a grating sound. I took a slight misstep, although it's interesting that I was able to get that shivering sound consistently. It at least means I was onto some kind of principle behind sound, and I learned something from it. I'm using what is called a phasor to produce the sound. It is indeed a sawtooth wave, which is, yes, a grating sound. I intend to swap it out for something more organic, or at least pleasanter-sounding, but I haven't yet gotten around to doing that. The phasor object is what is provided ready-made in the programming language I'm using, so I've defaulted to it for now. Here's a piece I accidentally deleted and had to reupload. I like it even if you don't:

Like I said, I rarely listened to them all the way through for the reasons I cited, so my apologies if my experience of your sounds isn't complete. If you're happy with the progress you're making then by all means continue! I just thought you were posting your pieces here to receive feedback about how others experience what you produce. Nowhere did I say that you didn't know what you're talking about - I'm sure you're an expert on your own program and how you've learned to create sound using it. Do I understand why you would want to try to create music using this method or this particular grating saw-tooth wave sound? No, but maybe you do and as long as you do that's all that matters. But that's my experience of what you've presented.

I'm gradually improving the program. Obviously, it's not perfect. It's just getting better and better. As far as why I'm doing this, it's because I want to understand the nature of music. I don't care that AI can do a better job. That isn't the point of this endeavor.

Hey Peter, thx for your quick review! I don't know how on earth do I get the idea from, maybe from playing the naughty @Thatguy v2.0's preludes haha 🤪! But I really love that passage too! This is wonderful and 10 times better than mine lol! I will if you commision me to write one and play me $99999999999999999999999999999! But I have to know how to orchestrate first of course! Yup, stupid me! I removed it immediately and thought no one would notice it, but thx to you everyone knows!!!! Waiting for your book-length review! Henry

Hi @ferrum.wav! Like Peter said I enjoy your orchestration very much by enriching the color without getting too heavy like many of the film composers do. Your music here maintains a sense of cute and beautiful naviety and freshness which I enjoy very much! Your orchestration is what I will have to learn from. I love your orchestral interludes after each stanza, and I love that imitation between the voice and clarinet in 2:01 in b.53, very clever! The modulation into E major is so well prepared and so well made, yet so refreshing and funny and doesn't sound you take a lot of effort into making it despite you must take a lot effort in it! I should be the one feel honored that you use my theme in a much more colorful way than I did. When my Image theme gets in at b.89 I just instantly laugh out because it's so colorful, and the horn color is so cute, and as a secondary theme it sounds like an old white rabbit assisting Alice in the wonderland! The run to Eb major is so so cute!! And one things I notice at the end: you use your motive so well and probably too well that I only notice how coherent and organized this piece is, probably because I was more attracted to the wonderful colorful at first and ignore the structual tightness in the beginning. This is so fascinating! Congrats on composing this and thx for sharing it to us! Henry

Hello everybody, this is my first post here. I've mostly composed and released solo piano music (recorded myself) so far, with the exception of two symphonies - last of which I finished in 2020. I've now composed a piano concerto with Sibelius 7.5 and Noteperformer 4. It's been five years since I produced anything orchestral so I am sure it will come off as rather clumsy in the orchestration (I am self-taught), and I am also aware that the piano part itself is not as virtuosistic as the form would require it (especially in the first movement). The ensemble itself is not large (strings, trombones, flute, clarinet and bassoon, and timpans, besides the soloist). I don't think I have much else to say. I would like to hear some of your opinions. You can ask me anything and I will answer as far as my knowledge of the topic affords me. The work is linked here from my Youtube (I tried to embed but it seems I'm not able or capable to). Thank you for your interest. Piano Concerto on YouTube

Hello @Cafebabe, This piece reminds me very much of Scarlatti given its light touch, texture and also how you modulate to distnat key A minor in b.81 from F sharp major! The harmony in the piece is very fitting to the style and I love your German sixth usage. Thx for sharing this light hearted piece! Henry

Hey @Henry Ng Tsz Kiu! Really great job! My favorite part has to be measure 81 marked "Nihilistically Scherzando" and whenever that reoccurs. It kinda reminds me of the following excerpt from Prokofiev's Piano Concerto No.3 - 1st movement. I know you don't like piano concertos since you think the interaction between the piano and the orchestra is too adversarial, but if there's one thing I wish you tried to compose sometime in the future is a piano concerto. With your piano skills you could even play your own concerto and record your performance and mix it into the orchestral rendition! I'm sure it would be awesome. Btw - did you accidentally include two links to the 2nd movement of this sonata up above? Thanks for sharing! I will listen to the entire thing one of these days and hopefully give it a more thorough review.

Thank you so much, Alex! Appreciate you taking the time to listen and write a response. Glad to hear you enjoyed the piece! I haven't experimented a lot with different mic positions yet. But, I've just dipped into the Symphony Series so still trying to unlock all of its mysteries, haha! That is something I do want to experiment with though. Cinematic was certainly the angle I was intending to hit. Often when I write pieces I have to visualize scenes in my mind that I can play through to "score" it. So glad that the feeling came across. I greatly appreciate the kind words! Side note, speaking of Symphony Series. I am happy to hear you're downloading! It was a deal I just couldn't pass up. And a major upgrade from my previous BBCSO Discover. My experience in just this little time I've had it has been great. I was not prepared for the download sizes however, but those have proven absolutely worth it tenfold in the sample quality.

Thanks for the excellent tip about Symphony Series. I'm downloading it right now! I wonder, have you tried experimenting with different mic positions yet? Your piece sounds very cinematic to me: so I think you've hit the nail on the head! You're very good at crafting an atmosphere with your music, and sculpting a mental image. It felt like a very tense scene from a sci-fi action flick.

Hi @Cafebabe! What a wonderfully delightful Galant piece! I think it could easily be a middle movement in a sonata - a fast minuet or a scherzo. The only thing that I see to critique is that the piece seems to be in 6/8 throughout its duration except for the brief part in 4/4. And you group your notes quite often into 2 groups of 3 rather than 3 groups of 2 as would be customary in 3/4. 6/8 is basically in 2 where each beat is subdivided into 3 notes. Thanks for sharing and I'm stoked for the other movement(s)!

Hi to all! Here is my latest composition based on an extrasolar planet that may support life. The previous ones were "Tau Ceti" and "Iota Draconis (The Dragon's Quest)". Am planning to combine these into a symphony or suite eventually. The score is designed for midi playback, hence the strange note lengths and dynamics. Think I probably need to allow more time for winds and brass to breathe? Also my bass-line in the celli and doublebass is really boring: so perhaps I should change it? Looking for some feedback on how realistic the orchestra sounds, and what further steps I can take to improve this? I used MuseStrings and MuseWoodwinds with Berlin Brass. Haven't done any stereo panning yet. Think I may have pushed the dynamics too high in the climax at the end, as it sounds like it's clipping to me.

Hi folks, I'm back to composing after an inspiration drought of several months, that I attempted to break this week 🙂 This is an allegro moderato, first movement of a string quartet that will have three of them. It's not aimed at being technical or something, just pleasant to one's ears. Regarding the structure, I wrote 2 main themes A and B, which you'll find in A B A C B A structure Regards Marc

Hi @Layne! This is an impressively exciting track. I really love the intense opening and the sliding figure in 0:29, reminds me very much the dangerous scene and music in the famous shower scene of Psycho. The 1:00 theme reminds me of both the finale of Tchiakovsky's Fourth Symphony and Prokofiev's 6th Piano Sonata. You also provide contrast in 1:40 with the bassoons and flute as well as other quieter instruments. What I love most is that you don't go for a clichetic gradual crescendo till the end as many boring and uncreative trailer music does, as the music ends quietly with confusion and mysteries at the end! Thx for sharing, I like this! Henry

Hello @Marc Deflin! I really enjoy this classical style movement. I love the imitation between instruments in the piece, particularly when you give the theme to viola, the poorly neglected child in a quartet in b.17! In theme C in b.61 you give the theme to cello which is a great variation to me! Also your usage of pizzicato is good, I love it. Maybe one thing is the melody of the piece, as both themes A and B is more motivic and less melodic, but this is personal. Thx for sharing! Henry

Hello everyone, Times have gotten... bumpy these past few weeks, which gave me inspiration to create this reflective piece for solo piano. It depicts an image of a person shedding tears of emotional pain, whether because of unrequited love, loneliness, helplessness, overwhelming hardships, etc. Musically, I was somewhat influenced by Chopin (of course), David Orr's Nocturne, other YouTube composers writing in a similar style, among others. Some addenda: For now, I decided to post my more recent compositions mostly on here, while I'm trying to figure out how to make better visuals for my YouTube channel's original composition videos. If any of you have suggestions for creating visuals, do tell me! I really appreciate it. So reflect on yourself to this music! And like always, feedback is welcome! ~Frank

Hey @Alex Weidmann! I really enjoy this Vaughn Williams like piece! I enjoy your modal style very much as always, and your pacing and spacing is always great for me as they are not always following the same formula or having suffocating full sound all the time as in many film music and trailer music. I absoultely love the way you allocate the themes to different sections. However within the different sections I hope there will be even more variety for allocating the themes, as now it's usually the flute, Horn and 1st violin carrying the theme! I think especially for the woodwinds you can have at least the oboe and clarinet carrying the theme, while for strings you can have cello for a low register presentation of the theme! Nonetheless I enjoy it. Thx for sharing! Henry