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hello, I’ll be saying a lot about your piece because I’m really enjoy it, and I listened to the entirety of it i’ll probably deep dive on this one because I found a lot of orchestration things that are interesting which I do wanna point out, but let’s talk about the general effect idea Ideas of general effect: as an audience member and also as a person looking at the score, I enjoyed this stylistic idea, listening to it blindly without program notes. This definitely does scream Russian. but after that, I could definitely hear the Jewish/Romanian inflections. I definitely enjoy a fun fast paced folk dance. The harmony was definitely colorful. I must say in the orchestration was interesting as well. Also, there was a great touch with tempo changes as well. You decided to go the abrupt option which makes sense where they seamlessly don’t change rather than a seamless change. Maybe you could’ve experiment with more gradual tempo changes but it’s more of a stylistic choice if you leave them out, which I definitely respect that. Tambourine would go so hard with this. I compose my pieces with a ton of percussion so you could add more percussion if you want, but I get if some composers don’t like doing so. with the general idea with the effect of the sounding its own thing is the effect on that fails as it sounds way too familiar and it feels more of an adaptation on existing earth culture rather than a culture elsewhere. about orchestration I will look at the score, but here is some first impressions I love that thing that you did with the clarinets in thirds that was really creative and it was a quick change of character, which I definitely appreciated. And you definitely passed the idea around as well. I have some questions as well while else re-listening to it, this is more of a stylistic approach on your behalf, but I would definitely add trombone in with that first brass entrance if we’re adding tuba, but then your argument could possibly be that the tuba provides the base and is not as harsh as trombone’s, with page 4, when the melody is passed to the Lows the patterns I would usually see is woodwinds doubling with each other with the additional add-on with strings. The first time with strings you add low brass rather than low Reeds what I was thinking by intuition Page 9 features Viola and clarinets a nice velvety, warm pairing. with page 10 features the thing I was talking about with the clarinet in thirds. A trumpet feature follows after that I would say it’s unusual for a folk color, but it serves well as a pallet cleanser Page 14 contains a call and response sort of idea with the brass note that bass doubles tuba; in the concert band setting this is a strong orchestration technique, given reinforcement in a orchestra given that there’s more string basses the strength and reinforcement is more effective later on the idea was given to the entire orchestra, allowing more color and blending you should be awarded amazing orchestration on this Anyways, this was very fun to look at, and this was full of amazing orchestration

Nice to meet you! First, I want to say this melody you made is familiar, catchy, memorable, and I think it's nice. Playing the main melody on bass or guitar might be nice. I like it. Anyway, it doesn't matter, just my impression when I listened to this. Ok - about mixing. I think you're doing well using panning and making all instruments clearly recognizable. I always have my attitude to respect what you want to express even if the mixing sounds unusual. For example, if the bass note was so strongly panned or much stronger than other instruments, if you have some purpose it would be part of creativity, I think. So please keep this in mind, as I'll give you what is called "general" mixing tips. I'm not sure what kind of sound you want to achieve, but starting around 1:25 many elements come in although the right-panned bass sound has almost not changed, and it's not clear in that section, which is what you call muddy or something like that. Solution: be careful about reverb and volume, use 3D panning plugins like Parallax Audio, or—it's a bit different, but—you'll be able to use PanCake. I think the biggest improvement right now for your situation is "volume". You can adjust volume balance - changing balance and finding your preferred version; if it's found, that means you have better mixing and can improve like "oh, I like this one better - this one sounds better" to the point you are satisfied. And leaving the work for one day and readjusting the mixing is so powerful. Also, writing down your vision or ideas about placing, mixing, and trying it anyway. I suppose the most important thing is not to compromise. Pursuing what you want to do with "no compromise"! Observing your favorite mixing/music is important too. Your piece has several nice parts and ideas, and I don't know the details about your game project, but this piece has a hopeful, beautiful vibe, so keep it up. Happy to hear your piece and welcome to YC, Forty6! Side note: just in case you're not familiar with it - Plugin Boutique is powerful for finding new free VSTs. However, be careful—there are a bunch of free VSTs in this world, so you need to choose great ones. If there are too many, you'll probably have no idea what to use, so at first, watching YouTube reviews like "best free reverb" and discovering nice ones is a good idea. Best, Lithl.

Thank you for the positive feedback :) I’m very glad you liked the suite. The ensemble could indeed have been larger; at the very least, a string orchestra could have been used. But I deliberately chose a quartet because I wanted a chamber feel. I perceive this work as very intimate. Besides, it’s much easier to find five performers (a vocalist plus a string quartet) than a whole orchestra :) I hope the remaining movements won’t disappoint you :)

“Moreshka” is one of the musical illustrations to Max Dalin’s novel “The Bonfire and the Salamander”. It is a folk dance of the Coastland, one of the countries in the novel’s fantasy world. Imagine a southern port city at the beginning of the 20th century: its people, its life, and of course its music. What you will hear here is the music of the city’s lower classes, the kind that was played in the streets, in taverns, and on town squares. A dance of fishermen and sailors. In terms of melodic character, I deliberately tried to create something that sounds both familiar and national, yet at the same time neutral. Of course, you will hear echoes of Russian, Moldavian, Jewish, and Romanian melos. However, I avoided any overly obvious stylization. Imagine some folk festival where ordinary people are celebrating. And tell me, did it work? =)

Hello! Thank you so much for such a detailed review and for your positive feedback. As for whether the music comes across as something of its own or as an adaptation of the music of our world, perhaps I didn’t phrase my idea very well in the opening post. I actually wanted the music to resemble the music we know. By “its own” I meant not something invented, but something heard since childhood and well settled in memory. I wanted it to feel familiar, but not to be merely what one’s memory supplies. The novel itself, which this piece was written to illustrate, is a fantasy work set in a world strongly resembling Europe before and during the First World War. Naturally, there are references to the Russian Empire as well. For example, the author even added poems that directly recreate the style of the so-called Silver Age of Russian poetry. And I wanted to do the same thing in the music. However, I’m only describing my intention :) It’s by no means certain that I succeeded. A composer often can’t tell the difference between what he planned to create and what he actually ended up with :) Special thanks for the praise of the orchestration :) It’s very pleasant to hear. Thank you :)