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Thanks for the comments! Yes, it’s largely homophonic as I kept it simple for my workflow and to get it submitted for YCF. However, after being reached out to by a composer based in North Dakota, he wanted to work together on this piece of music. He’s a composer with over 30 years of experience and during our call, he gave me a lot of practical advice for this work and what would happen if it were played live. Thus, I’m currently undergoing revisions for this work to address the ensemble aspect and to remove the dependencies between the piano and strings.

I recently showed a draft of a piece I was working on to one of my friends. With the piece being in 13/8, which has multiple ways of grouping, I decided to write the time signature out as (3+2+3+3+2)/8 instead of simply putting 13/8. My intention here was to make it easier to interpret and learn, but I was told my choice made it more confusing. Would it be better to notate it as an alternating pattern of 8/8 (or 4/4) and 5/8? Or simply 13/8? Or is there some other solution that I haven't considered?

I haven't even begun to think about conducting lol. I haven't written anything bigger than a quintet in a long time, so the need for a conductor just hasn't been there. In the case of the piece I'm working on, I think the best thing to do would be to conduct it as 5/4 with uneven note lengths, similar to how I've seen 7/8 conducted, although I'm sure that would be a pain for whoever actually has to do the job. That's certainly something for me to think about if I decide to expand this beyond what it is. I will be making the suggested edits later today. My main issue with it when I was sketching the idea in the first place was handling long tones (which, it starts out that way), but you addressed that. Thank you!

Thanks for explaining. I suggest you keep it simple for the time being. Focus on smaller scale and short pieces with two part harmony only. Perhaps a waltz or minuet which provide a clear and simple structure to adhere to. Listen extensively to music you like to build up a creative vocabulary. Learn the art of voice leading: that is, rather than viewing harmony as static, consider the linear relationship between the notes that you write. Transitions should be smooth and each part independent where possible. Share those small pieces on this forum for targeted feedback. The added advantage of smaller scale works for intensive feedback is that the reviewer is not overwhelmed by the amount of material to analyze. I welcome you to tag me in such future posts and i will try to offer some in depth feedback.

This audio is from MuseScore. I have finalised this piano quartet. I want to convey the feeling of flying and dancing in the clouds. It is like the music you would hear while on a carousel. Now, as I am new to composing and still exploring, I find it difficult to develop my own style. I enjoy romantic pieces, but I can't figure out my own style. The second difficulty I have is having clear harmony- the right chords. Where should I start in music theory? I have the basics of theory, like intervals and keys. Thanks. Mouvement de l'air.mp3 Mouvement de l'air_Score.pdf

Just the cause you have “quite bad” skills in counterpoint does shouldn’t discourage you from sharing the score. We are all learning here, no matter where we are on our journey. Importantly, we learn from each other through the feedback and suggestions we offer and receive.

Apologies for being blunt, although the sound sets are not at all pleasant. You should try MuseScore, perhaps? It’s free, do you know? The music itself sounds quite erratic. I suggest that, in order to receive constructive feedback, explain: What you intended to convey in this quartet (stylistically & narratively) What are the current limitations you feel? Otherwise you leave it to the reviewer to work it all out, in addition to dissecting your approach to music composition.

If I had a nickel for every time I’ve been called Mark on YCF, I’d have two nickels, which isn’t a lot, but it’s weird that it happened more than once.

Hi @GMoneywroteasong ! I think you should just keep the meter displayed as 13/8 but change how the 8th notes are beamed/grouped in your piece accordingly in each bar. I think this also allows you to have different instruments group the 8ths notes differently specific to what they are doing. I once wrote a piece that was in 5/4 but with many instruments playing in two groups of 5/8, each half of the bar being grouped again differently depending on the specific situation as 2+3/8 or as 3+2/8. The only problem I see is that of such a piece being conducted. In my case, the conductor would still conduct the piece in 5/4 as that was the displayed time signature. But the individual instruments would be encouraged to count the piece in 5/8 if their part was displayed that particular way. In your case you could display your rhythms like so: The notes are clearly grouped, and even if not using 8th notes can still be grouped according to the beat lengths you described, regardless of what kind of particular rhythm they might be playing. Hope this helps!

Thanks everybody for the reviews and comments! Yes, I played it by myself. It was the same day I finished composing it, so I didn’t have much time to practice! Thanks! While composing I didn’t actually think of the chord structures I was using, or any styles and influences. I basically just wrote what sounded right to me, polishing for coherence. I agree—I just felt I had to start with something small that I knew would be achievable. Also, I don’t think the piece has much potential for expansion unless it’s really restructured. Thanks for the compliment! It means a lot to me, because I always feel my technique is lacking. I think what I’m learning is that ideas seldom come perfectly polished—it’s the diligent work afterwards that matters. If you analyze what you’re doing too early, it blocks the creative flow.

I listened twice, and you managed to put a smile on my face. You evidently know your stuff for it is very well crafted. I have no constructive feedback with regards to your writing. Keep up the good work. Looking forward to the next upload. ;)

First time properly hearing your music, Mark! Have to say you captured my interest with this delightful work. I feel the structure falls into place very well. I did feel the ending could have been more interesting but overall it works. Importantly, it feels French! Looking at your writing in more detail, it seems to largely be homophonic, right? Is this unique to this work? Very well done, Mark.

As a pianist, those chords also impossible to play. Not even Rachmoninov would have wrote chords in that fashion! I think you need to carefully look at scores that use the harp, @Musicman_3254. Adler provided some scores to look at (and I included others) CPE Harp Sonata Caplet's Deux Divertissements Debussy's Sonata for harp, flute, and viola Belioz's "Rob Roy" The planets by Gustav Holst Pines of Rome by Ottorino Respighi

A lovely pleasant piece of music. Remember woodwind players need to Breathe! Why the Oboe D'amore? Not many players own one. Why not substitute English Horn? I also think in this composition the tone would be more fitting. Mark