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Hello again! I found some downtime today and decided to look at the first movement of your work briefly. Here are some annotations: M. Boyd - Symphony in A [ANNOTATED].pdf

HanselandGretel_unfin2.mp3 HanselandGretel_unfin2.pdf

Thank you! I don’t know if there’s a reply button, but this works. I just really tried to capture the kids playfulness with the evil stepmother, and the fog of the forest. For the directions I tried to use detailed ones to enhance the depth of the piece. 😁

Hello gooberro and welcome to YC! I am honestly surprised that no one has given you feedback yet and this is your second piece, as it has a surprisingly high level of quality with interesting progressions and good themes. I appreciate your work very much.

I wrote a trombone solo based on sounds I heard while out bar-hopping with one of my bandmates. The audio and score are attached. LasChicasLocasFriend.mp3 Las Chicas Locas.pdf

Love this!! Great job, in a good playable range for trombone. One thing I would say is just watch the dynamics a little on your piano accompaniment, in some parts of the trombone's register, it overpowers the trombone. But other than that, this is a great piece, I could see it being Love this!! Great job, in a good playable range for trombone. One thing I would say is just watch the dynamics a little on your piano accompaniment, in some parts of the trombone's register, it overpowers the trombone. But other than that, this is a great piece, I could see it being used for MPAs 😁

Thanks, Mason! I do recognize that this is a lot of music to sift through and it isn't at all an expectation that you go through it all. No doubt that the things you have picked up already will apply generally. You are teaching me important things; for example, I wasn't aware of the 5ths double stopping issue. Also, for some reason I have never mastered use of slurs in my music. I think it is because I have been more focused on the technical aspects of voice leading and structure that I have neglected these performance indications. It is definitely something I need to get better at. The same applies to the page formatting issues you have highlighted. I agree that if this work was ever received by an orchestra to play, these things would be essential! As for the wind instruments - whether they should be divided into two parts as per convention and in the interests of adding depth, this is something else I will look into. At the moment, there are simply four individual parts for the wind instruments. 🙂

I've dug up another decades old composition. I was once again experimenting with polytonality at the tritone (C and F# major). The first 9 bars of this piece were all I had to start out with so I extended it and finished it using some variation technique and slapped on a repeat and called it done. I referred back to Musescore quite a bit in the process instead of writing everything on just paper and only using my imagination. I made many "corrections" from things that didn't quite sound the way I thought they would on the page, so I feel like a hack LoL 🤣. I'd appreciate any of your comments, critiques, suggestions or just observations. I hope you enjoy and thanks for listening! A Waltz in F#.mp3 A Waltz in F# Print.pdf

This is one of my first orchestrations, and I would really like some feedback. "Where did all the time go?" is an emotional, mentally exposing, orchestrated piece meant to connect with everyone. The story behind this piece is to represent how priceless time is and how time flies by so fast, and we sometimes never take the time to enjoy it. It reflects our lives—from our first steps to the defining milestones of maturity. This composition demands total emotional transparency from the performer; the music flourishes only when the performer fully commits to that emotional truth. Throughout the score, recurring motifs serve as a narrative engine, guiding the listener through the distinct and shifting phases of a life well-lived. Where did all the time go

Hello, PeterthePapercomPoser. This track is really nice. I did notice some clipping, especially around the 1:24 mark. As for the composition itself, it maintains a consistent atmosphere throughout, yet features unexpected twists that make it enjoyable to listen to. As a remake of a decade-old piece, I wonder if they composed it at a pretty young age? You may have already been skilled at composition back then. Best, Lithl.

Hello! Over the last few days, I’ve listened and looked at the score quite a lot. I felt it within my interest to analyze the score. The attached PDF is culmination of my annotations and comments. If you have any questions, I’ll do my best to answer! Good work! A. Ko - Poem for Orchestra [ANNOTATED].pdf

I think his name is actually Mason..🤣

Thank you, Mason. I will amend the score layout this morning. I appreciate this will make it easier to scrutinize for those having a deep dive. The current view and lack of repeats is intention for my own eyes and there is often no point having repeats during this phase of work. But yet, with the repeats the first movement will be at least 10 minutes once I am done with it. You seem to be a guy who knows his stuff. Very much looking forward to your comments. Will check out your stuff too!