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Anytime! To an extent you're right about the baroque idiom creeping through in my example. But do recognize that the classical idiom is based on the same principles. You cannot really escape the 'rules' when applying traditional approaches to harmony. In addition, I did not intend to influence the direction of your work, but illustrate how one might otherwise approach the initial compositional process. Credit to you, though, for approaching composition in a free spirited way. I do understand your reasons. But don't feel intimidated by the 'rules'; they are only there to guide best practice. If you need help with anything please feel free to message me.

@Markus Boyd Hey! I really appreciate your time and effort, especially since you took the time to actually rewrite parts of the piece. That's really valuable to see! I just wanted to clarify that my main focus with this sonatina is Classical motivic integrity and structure. I feel like some of your suggestions approach the piece from a stricter Baroque counterpoint perspective, whereas I'm aiming for a somewhat different stylistic direction. That said, I really appreciate seeing how you reworked the material, and I'll definitely think about some of the things you pointed out. It's just that I don't think I'd want to take the piece entirely in that contrapuntal direction. I actually used to be very obsessed with counterpoint, but I found that it made me way more burned out from writing music. So nowadays I try to use it as a tool but break a lot of its rules when I want the motivic integrity to be the more important role. Thanks again for taking the time to review it!

Thank you! Like i've said i'm not a theoryst or anything similar to a composer. What I do is from hearing a lot of music. The choise of the First inversion is to mantain a non perfect start. The other chords seems also not to finish themself. I don't know if you understand. But the objective was to make the start like an "ambient" music. The melody itself is quite hidden in is length (there all semiquaver or longer note). This is also the first time i try to compose in a sonata form (probably i've missed something), but the real piece is in the development, with primary and secondary melody going togheter. Also the recapitulation is more "classic" with more voicing also for introducing the third movement (which i havent started to compose) Hope i satisfaied your question :)

Hello! it seems like you're trying to write in a classical style, perhaps inspired by Clementi's sonatina's? The opening movement starts a bit like an invention and as such there are opportunities to contrast the treble and bass parts. To illustrate those opportunities, I have reworked some of your ideas (first and second movement). I have altered your leading in certain places that demanded it (to facilitate better two part harmony) and the motivic development to improve coherenceI hope this helps you. My advice: Focus on the outer parts first and listen. Remember the three types of motion: parallel, oblique and contrary Prioritize opportunities for contrary motion, otherwise consider parallel thirds or sixths, Oblique motion can be useful for pedal points (and suspensions if your experience allows). Avoid parallel motion if octaves or 5ths apart. If you do this, you are most probably missing an alternative and better solution. With regards to the development of your ideas You have the right idea with mirroring the left and right hand. But compare my solution in the first two bars of the first movement. How does it differ? Feel free to ask me any questions. I am here to help with anything :) MinGry's Sonatina.mp3 MinGry's Sonatina.pdf

Ah, I thought I changed the title on this post, only to realize I did so on my profile, not the thread. The title has been updated and as of now, I’m indecisive to share or not. Short answer is TBD

Hey Henry! This is actually a very clever piece! I loved the wit infused in the instrumental dialogues. My only question: was it intended for the movement to be predominantly - even entirely - in the minor mode? You see, I am largely familiar with music that contains a balance between the minor and major modes, which I understand as integral to narrative. Effective narratives in music tends to connect with human experience of this world, which generally centre on conflict and resolution - much like plot in literature. Switching between the major and minor modes is quite often integral to the movement between those two states; and the more skilled a composer, the more compelling the story telling. So, stepping back from the music itself (which I repeat is excellently done), what is the story you are telling?

Hey Tristan, Apologies for the late reply to your request for comments. I listened to the majority of it and evidently there is a lot to unpack. I see @MK_Piano has already done a great job with the technicalities and orchestration, and even made some voice leading suggestions where needed. I don't feel I can or should add anything further to that. I am, however, interested in your inspiration for such a mammoth of a project - what were your influences and aspirations? And how do you feel it fits together? My won impression is that, stylistically, it seems a quite erratic. With all due respect, the part writing and orchestration seems a little immature and makes me wonder whether you are ready for writing such a large scale work. That said, your harmonic progressions, in several places, sound influenced by the Viennese and proto-romantic schools. I am well acquainted with Mozart's piano concerto's, for example, and I heard some resemblances.

just what the title says also pls give rating out of 10 string quratet 1.mp3

1. It is good to use triad make full if possible. 2. Note that continuously from start to end for phrase, make characteristique for rhythm and line. Every VOCI(Deutschen) is good to be independant and irregular or having variaty. Don't use same rhythm too continuously in same VOCI. It makes sounds very poor.

Couldn't resist giving it a go I have taken your outer parts only, which I suggest be your focus at first before attempting 4 part harmony. My suggestion is not perfect by any means, but be instructive on how you might better approach voice leading in the outer parts. Composers of past tended to write the outer parts first before adding the inner ones. This makes sense, because the outer parts will form the skeleton that you will be working with. If you have nailed the outer parts, in that it sounds interesting and coherent, then the rest should follow suit. Inversely, you will be working with a shaky foundation... Example.mp3 Example.pdf

I'd like to listen your work in real instrument. Very Very good stuff and architecture what I've never thought.

Without going into detail, there are a few things to consider: Consecutives: If your intention is to maintain independence between the parts (which seems to be the case) then you should note the parallel octaves. I saw several between the outer and inner parts. My pointing this out is less to say your part writing is ‘wrong’ than there are missed opportunities to enrich the voice leading/harmony, especially when two voices move in the same direction to the same note without apparent justification. In on instance where there are parallels, for example (bar 7) the A7 chord initially lacks the third which is not great. Your choice of harmony, combined with melodic writing could be improved. Bar 8, for example, which contains only the tonic chord then proceeds to another tonic chord on the first beat of bar 9. I would personally look for opportunities for contrary motion where the upper voice is ascending. For example, with the ascent to the D in the first violin, perhaps the bass could descend to a B flat instead leading to a VI chord. I haven’t checked to see if my suggestion works, but try to think in that way. Allow your melodic writing to flow naturally while considering the range of voice leading opportunities (that is, the movement of the other parts) your writing permits.

Hello everyone! I’m happy to be posting my first piece on this forum. It’s a short and unpretentious waltz for piano in A major. After a couple years of much reading and sketching, but without a single completed work, I decided to revive one of my old ideas, with the encouragement of my best friend. It took me a little over a week to complete, during a vacation in Paris, and it’s very satisfying to be able to put a double bar on the end! I’m dedicating it to my friend, who plays the piano herself, and now lives on the other side of the world. It’s in a very tonal and functional idiom, and I had no intention of making the piece stylistically distinctive, though I think a few elements of my personal style definitely found their way in, such as a certain motivic organicism, and penchant for harmonic variety. Any feedback is greatly appreciated! (Sorry for the bad recording—I figured it was still better than the MIDI output, especially since I don’t know how to configure dynamics playback in Dorico yet). Home recording - Waltz A major .mp3 01 - Full score - Waltz in A major.pdf

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. ;)

So.. I am currently working on a second submission for another call for scores (2/2 now. Submitted one for another competition last week). I would appreciate some feedback on the current progress of this score as it is. I'm looking for answers for: Voice leading; have I been effective with creating smooth transitions between the chords, and leading tones into the different sections? If not, where could I improve this? Form; is the form, starting points & destinations easily distinguishable, enjoyable to follow and effective in the narration of the depicted theme? How could I better write for texture, at and beyond the C rehearsal marking? The score is a tribute and homage to the lives lost during the allied offensive in Germany, kicking off on D-Day in June of 1944. You'll see my call-back to Taps, in a variable manner, near the end of my current stopping point. Enjoy listening & reading along, and I look forward to the feedback I may receive :) TampaBay.pdf TampaBay.mp3

Good evening! I listened to the whole piece. I love it! Unfortunately I am not really in a position to offer any constructive feedback about the brass writing, for I am least experienced with brass. In addition, the transpositions make it difficult to judge the voice leading at face value. More broadly, however, your use of the major and minor modes does come to mind. Pardon me if I am mistaken in my impression that you don't really utilize the minor mode much; nor do you appear to explore different tonalities, remaining very much in the same key signature (with exception to changes at certain new sections). Whether that is a weakness, though, I am not sure; as I was still very much engaged with the work. I will be sure to follow your profile to keep an eye on your new posts ;)

Thank you for your very inclusive feedback. I am definitely going to take into consideration everything that you've added here. I've uploaded my most recent progress/changes to the score. (I hadn't seen your comment prior to that, so some issues you mentioned are likely still present. However, moving forward with editing, I will most definitely be utilizing some of the changes that you suggest!)

Hello, i'm new in this community. I'd appreciate some feedbacks for my new project. I'm not a composer, neither i've studied any advanced musical theory (just the basics of harmony and counterpoint). https://youtu.be/plYqa90qEbQ?si=RW37P57Ywl95hg8O. This is the link where i posted the composition. Hope you like it, if you have any suggestion just write a comment under the video or under this post. Thank you! String Quartet No.3.mp3 String Quartet No.3.pdf

It is very beautiful, Filippo! It sounds a little like Max Richter. I hope you don't mind me having a play around with your ideas? Im curious, is there a reason why you invert the tonic chord in the beginning (A in the bass, rather than F)? Im genuinely curious... I am not skilled in this style of music.

Ok! You should upload your more recent version. Doesn't matter if it's not finished. Just to update the thread :)

Interesting. Reminds me of Sigur Rós and a little Radiohead 🤷 Nice ideas and instrumentation, although the tuning sounds very off. Was that intentional?

Being very honest with you, you had me with the opening horn motif. It gave me James Bond 'vibes! Although less so with what followed. Your writing is very dramatic with little release from that tension. I was also not a fan of the choice of percussion. Aside from that, the score is not really legible. Was it put together with a Midi keyboard or something? My suggestion: the opening horn motif is ominous & mysterious in tone'. You should try experimenting by maintaining that tone with less drama. My understanding of film music is that it needn't be complex but should be carried the central idea in such a way that support the motion picture.

Hello Markus, thank you for your advice. I'll edit the post with your suggestions. My style is quite minimalistic (I love gorecky, Part etc). Probably this will be the II MVT of this SQ. The First should be quite more Vivace and less Tonal, the last will probably be a Fugue-Corale one, but i've never tried to compose one of them. Will see if it comes well. Thanks again.

Hey Mark (again!), Firstly, I love the tutti sections; they remind me of Chopin's concerto's for piano, particularly those grand tutti sections in the minor mode. As for my criticism, I have a few things to say: You have some interesting ideas to work with in those orchestral parts. At present, many of the parts are written in unison with a straightforward homophonic texture. That's okay for the time being, but you may wish to revisit to add complexity & color. The homophonic texture in places needs something more interesting. Bar 39-46, for example, is basically and entirely chord I (c minor). this sort of thing becomes monotonous without some change. The solo piano parts are a little underwhelming, particularly in contrast to the grand tutti sections. I notice too that in the initial sections, the two clefs are written largely in unison. This is Ok to an extent, but too much of this becomes uninspired and we long for some complexity and nuance. Towards the latter sections of the score, the initial momentum you established falls away and, to be frank, I lost interest. I am no stranger to the complexity of writing such large scale works. So kudos for you for trying. No doubt you will continue refining it for years to come. You do have some great ideas to work on!

Hey Filippo, Thanks for posting with us. You will get much better attention if you post your music here in the following way: Explain your intentions and approach to the music you have made Attach a PDF & MP3 of the score in question, rather than pointing us to a third party link. Make sure also that the PDF is of high enough quality to enable analysis. Listening to the opening, your music sounds minimalist. I like what I hear so far... :)

Hi! I am continuing my revision on my old work. This is the 2nd movement of my Clarinet Quintet in C minor, which is completed 4 years ago and I'm revising it. Thx to my friend @Thatguy v2.0 for making the audio! To me this is probably the worst movement in the piece, but only because it's the most one dimensional one: After the discovery of despair in the 1st movement, I started to fall into confusion and craziness of despair. Ironically this movement is written in a neat Sonata form with the structure presented below: 0:00 First subject, exposition. Start right from the despair Eb-D-C-B motive in quick Scherzo time to represent the fury and confusion of despair. Clarinet joins in 0:31, still playing at the despair motive, and in 0:33 the whirling figure using despair motive signifying the confusion is introduced. 1:27 Transition, exposition. I like this pizz. theme myself for how sarcastic it is. 2:34 Second subject, exposition. In F minor. A more "reasonable" theme finally with major keys visited, although finally succumbed to the confusing despair. I always go to F minor instead of G minor for the secondary key of a C minor movement for its darkness. 3:46 Development. Continue with the confusion by quickly modulating to different keys. I really love the 3:59 passage with a Brahmsian turn to a German sixth chord in 4:09! The fury ends with a "transcended" sadness in Neapolitan C# minor in 5:20 with a clarinet solo, but sarcastically laughed off by pizzicato strings in another Brahmsian German sixth. 5:49 First subject, recapitulation. Excitement reduced after a suffocating development. In 6:02 obviously I learn from Beethoven's 5th for that famous solo oboe passage. I love how fierce it is in 6:38. 6:47 Transition, recapitulation. Shorter than exposition's transition. I hate exact repetitions. 7:25 Second subject, recapitulation. Same as the one in exposition except in tonic key. Notice how relative major Eb major is finally used with some emphasis for the very first time in the piece, as the confrontation of B flat carried by E flat major and B natural by C minor of the despair motive would be the main battlefield later on. 8:38 Coda. One last cry and I am exhausted by the despair, thus ends the movement in tired pizzicato chords. Only with this exhaustion do I have the motivation to excavate the true reason behind the despair, which would be the main theme for the 3rd movement. Here is the score and youtube video of the movement : (For YT)Clarinet Quintet in C minor 2nd mov Final Version 20260707.pdf Harmonically I deliberately play with chord progression of augmented triad keys to reinforce that particular chord both horizontally and vertically, as well as resonating with the despair motive. Hope you enjoy this one and offer some critique to the movement! P.S. This is the 1st movement of the remastered version of the work: Henry Clarinet Quintet in C minor 2nd mov Final.mp3

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.

Hi everyone! This is a more recent Gavotte that I composed in just the past week. It's for a string orchestra. Let me know what you think! I have a much longer and more challenging Gavotte in C in my archives that I composed years ago but that one is not finished yet. This one is a bit more modest in form and virtuosity. Any constructive feedback would be greatly appreciated!

I think It sounds making me have a bright feeling. Short length of work make me demands more parts. I'd like to hear your work more. 1. If You want not to make audience don't be listened your work's phrase cut by progress, All of VOCI(I don't know this word in english) must not be ended and started with consiquently. 2. If your work's style is not flaoting tonal, tonal's All of part must be related. and All of phrase is good to have architecture of clause in every phrase.Ex=>(a-a'-b-a) or (a-a'-b-a) + (a-b-a-b). Too many stuff is not required. Recycle the stuff what already used. I'd like to my advice may be help for your works. Thank you for making me listened your work!

Hi all, My entry for the "From Nothing, to Something" Summer 2026 Composition Competition is a short mixed quintet called "Your dear beauty lovelier still". This was definitely the most challenging piece I have made: making something from nothing was by far the hardest thing I have done so far here. I couldn't find anything that would represent summer apart from giving this song the lyrics of the poem this competition is based on (Donc, ce sera par un clair jour d'été). Btw, since Musescore doesn't have any soundfonts that can sing lyrics, you won't be able to hear the lyrics in the audio. Here is the pdf I hope you enjoy 😁 your-dear-beauty-lovelier-still-musicbro456.custom_score.mp3

Hi! Welcome to the forum. May I ask what your experience is with music? Aka how much you know about music theory, maybe what instrument you play, etc. In efforts for us to give the best feedback, it'll be great to gain an understanding of your background. Thx in advance!

Hello, It's a nice waltz. It's always great to hear live performances of original works! It's perhaps a bit short...leaves me wanting a bit more :) Thanks for sharing!

Hi @CrystalCanon ! Great job with the crafting of this piece as well as live performance! Did you perform this yourself, or did you record your friend playing it? It's very charming with many romantic era harmonic tropes (such as dominant 13th chords and modal interchange). Thanks for sharing!

I agree with @Luis Hernández on the harp writing. That is not possible. The chords are too large for a single hand to play. This is why you need to look at scores that have harp parts in them. I can not emphasize this enough...score study is paramount.

Hi everyone! :) As i am in my village in southern Greece for vacations, i am away from my music studio in Athens. However i still have Musescore 4 for arranging ideas and i just finished orchestrating my composition "Calling For Inspiration". I am still doing lessons in music harmony so for my orchestration and arrangement ideas i just follow my instict and ear. Of course the final audio quality is not the same as if i would have composed the piece in my sequencer (with many proper audio libraries), but still i think that musescore does a decent job in rendering the sounds. Calling for inspiration...through the Renaissance times, music evolved to soothe the spirit and help the psyche reach the skies, outer and inner... Please i would love to hear remarks, reviews and opinions in the piece and in which ways i could improve the orchestration and arrangement! Kind Regards, Lampros Marantos CALLING FOR INSPIRATION.mp3 CALLING FOR INSPIRATION.pdf CALLING FOR INSPIRATION.mp3

audio?