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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

Thank you for sharing this — I listened to the recording and followed the score, and the opening of the A section really charmed me: the light, staccato melody in 3/4 over those steady chordal figures in the lower staff gives it a clear, dance-like lift, and the drop to piano with a crescendo in bars 3–4 is a lovely touch. I also enjoyed the contrast in the B section from bar 16, especially the longer running passage in bars 22–27 under the big slur, which builds nicely before the Vivace A material returns. If I could suggest one thing to explore, it would be varying the left-hand accompaniment pattern a little more in the return of A, so the reprise feels fresh rather than identical — but as it stands, it is a graceful, well-shaped little minuet.

Thank you for your comment and your suggestion. I'm glad you enjoyed the piece! I suppose it's meant to be a slightly different take on sadness than usual: a contrast between the simple melancholy resignation of the clarinet and the agitation of the piano. I hope that comes across a bit nonetheless... Thanks again for taking the time to listen. Best wishes

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 Ali for your message and your appreciation of the piece. Best wishes from France. Laurent

Here my minuet i would like for feedback Minuet in C.mp3 Minuet in C.pdf

Thank you so much :)

Thank you for sharing this, Laurent — I listened to the recording and followed the score, and the shape of the piece stayed with me. I liked how the piano carries the first nine bars alone: that repeated, accented pattern at quarter note = 95, in 4/4 with three flats in the key signature, sets a quiet, restrained mood before the bass clarinet enters, so its entry feels like a voice joining a conversation already in progress. The bass clarinet's low, warm register suits the title beautifully, and I agree with Forty6 that the final clarinet phrase, with its triplet figure settling onto a long note in bar 58, gives the piece a satisfying, unhurried close. Your point about the contrast between the clarinet's melancholy resignation and the piano's agitation really does come across for me, especially in that opening — the piano keeps moving while the clarinet sings more simply above it. If I were developing it further, I would be tempted to let the piano thin out for a few bars when the clarinet holds its longest notes, just to give the bass clarinet even more air — but the balance as it stands already works well, and thank you for sharing such a thoughtful, well-notated piece.

Hi Luis, Thank you very much for your words, I'm so glad you enjoyed the piece. I know what you mean about how it doesn't quite go in the direction suggested by the opening bars. It is a bit of an odd feeling, I agree, which sometimes I get and at others I don't so much, but I haven't yet quite managed to work out how it comes about. But the way the piano works towards these moments of agitation is central to the theme. About the clarinet, it sounds like a bass clarinet to me, with its somewhat hollow woody timbre, even on the high notes, which conveys a specific kind of sadness in contrast to the often agitated piano. But then again I was not there when it was recorded, so I can't be entirely sure... Thanks again for your comments. Best wishes

Part III. I liked the opening, with the strings creating an almost ‘cosmic’ atmosphere (as in Lohengrin). The first exposition with vocals/text left me wanting a bit more, as the strings play a very passive accompanying role, with nothing more than long notes. But I noticed that in the recapitulation they take on a much more active role, so the contrast works well. Overall, I like the way you give the instruments such a prominent role, even though it’s a composition with text and vocals.

Hi to all, I recently recorded an electronic music piece at a slow tempo (45 bpm). It is called Jupiter's Moons and I also made a video for it: The main instruments are a Crumar Bit 99 synthesizer, an Arturia Drumbrute Imact, an Arturia Microfreak and the main theme is played on a Stylophone. I hope you'll enjoy it!

I love this so much! The way the melody develops, starting from the chords to then the satisfying dunnn-dunnnnnnn (G flat to F flat) THEN WHEN IT OPENS UP (liek around the exact halfway point) it just sparks everything that I think of when I think "Jupiter's Moons" (especially that Stenophone paired with the twinkling) and THEN to close it with chords and that satisfying melody is just so poetic and perfect. I have to ask, do you know of the song "Space Song" by Beach House? It's really popular online, did you take inspiration from that song? It sounds even more within the aesthetic than Space Song did (if you ask me.) How long did this take to make (the composition itself, not the editing process) Consider me wowed, Forty6

Thank you for offering, For melody, I like the satisfying resolution on ending with the root note for the clarinet, (I know this wasn't the feedback you asked for, but) When I listen to the song, I don't initially think that the song would be considered sad, I more felt like it was intriguing and somehwat bouncy, if you wanted to make it sound a bit sadder, I feel liek you could make the piano softer and have a bit more reverb (just in general less sharp) and a slightly lower bpm maybe? I do like the song a lot, though, it's always so nice hearing live instruments (atleast I think it was live) like how you played the clarinet yourself, and I liked the switch ups of instruments like with the other piano coming in later to change around the atmosphere, great job! Awesome sauce, Forty6

I forgot to mention this album: Outlaw Star OST (my favorite anime) My favorite tracks are: FLIGHT POWER GENTLE SUZUKA GRAND EXPECTATION DAY BREAK

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 :)

I just turned this into a YouTube short!

Many thanks, @PeterthePapercomPoser Two years ago, I (almost) discovered I had Final Cut pro that was coming along with Logic Pro when I bought it with my computer. So I thought it was the occasion trying to put together some music video. They require a lot of work, though, but I had great fun doing it. For my electronic music, I don't usually notate everything, but I still like to work on paper to scribble notes and thoughts. I found nice to show them in the video 😅

Not sure where you're based. In the US, courts require "meaningful human authorship" to claim copyright, not just human contribution. You did not author the final product, just the prompt. It is possible to claim copyright to your part, but not to the final recording. Suno may have granted you commercial license rights if you paid them extra, but that is not the same as being able to claim copyright. Also, after listening to music created with Suno like this, I'm always less and less worried about AI music taking over. The use of kitsch and corny elements are through the roof, seem to have no relationship to the genre/style of the original concept, and have a redundant, non-developing form. "In my AI ethics course, any user that creates with AI is the sole author." - I am quite curious as to what sort of unreliable AI ethics course would be promoting this, as it's standard knowledge that all writing, graphic, and musical LLMs are only possible because you are not the sole author.

Those are very different things. If I buy a hydraulic press and use it to flatten a stainless steel pipe, obviously I'm morally responsible for flattening the pipe. If that pipe belonged to someone else, I can hardly evade responsibility by saying, "Hey, it wasn't me! It was the hydraulic press!" On the other hand, it's equally obvious that I can't lay claim to flattening the pipe as a feat of strength. If I cry, "Behold my strength!" as I hold the flattened piece of steel aloft, I am quite rightly met with, "Uh... you didn't do that. The hydraulic press did."

This is really beautiful! I would love to hear a "finessed" version of this piece, as the MIDI isn't doing it justice at all. I like the choice of time signature change in the middle, I think that was a really clever way of developing the piece.