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Wow, this sounds truly symphonic. I really liked it. To be honest, the whole business of bands is a bit of a mystery. Where I live, there are loads of them – they’re street bands… marching bands? What stands out here is that there are loads of clarinets. They’re bands designed to accompany parades and play ‘pasodoble’-style music and the like. I suppose there are lots of different set-ups.

Hi again! I listened to this piece, and it is a challenging and great piece. I like it. It’s hard to explain, but to me, it sounded like an organ piece that doesn't actually sound like an organ piece. By that, I mean it feels so fluid and the notes feel so scattered that, in a very good way, it felt like listening to a piano piece. Is there a specific work you used as a reference? I don't know of any other music quite like this. I like your composing style. I will check out any other variations if you release them in the future. Thank you. P.S. Just a small suggestion, but if you could embed the YouTube link so people can listen to it right here without being redirected to YouTube, I think even more people would check it out!

Hi, thank you so much for listening to my composition, I really appreciate it! And I also appreciate that you took the time to check out my other works. As for plugins (VSTs), I usually tweak the very basic digital instruments available on MuseHub and try to get the most out of them 🙂

Hello, I listened to this piece, and to be honest, I really liked it. It’s a fun and captivating work to listen to. The structure has great dynamics, keeping it engaging throughout, you truly have wonderful composition skills. I also checked out your other works, and Five-minute pieces for violin and piano in particular is another fantastic piece, with music that flows like a river. Please continue to share your work in the future. I did notice a little bit of audio clipping at around 1:15 in this piece (Suite for clarinet, soprano saxophone and piano), but that doesn't really matter when compared to your composition. By the way, I would be really happy if you could tell me what plugins you are using. Thank you.

Hello everyone! How are you? I would like to share my latest composition with you. This time, it is a variation on an old Czech hymn "Vstalť jest této chvíle". I’d really appreciate it if you gave it a listen. Thank you! https://youtu.be/GESxy63t9HE?is=-6dZ675dvwSZbBlv

Yes, I know that. Either I deleted it by mistake, or it didn't get added there 😅

Hi Petr - When you paste the YouTube link directly into the message it should embed automatically.

I'd never written for concert band before, however, that's the only ensemble, aside from one performance, that I've ever rehearsed and performed a production within... So I am very familiar with how the instrumentation is utilized in concert band scores. This was inspired by some work from another collegue of mine, that with their permission, I was allowed to put my own "twist" on it, and it is very very far from it's original form... I suppose that makes it more original than arrangement, but ah. I can't take all the credit for it if I didn't conjure it up myself from scratch. It's very short, and I didn't really have any intent on developing it into a more lengthy, complete piece, despite my desire to do so... I think it's quite extravigant, triumphant and reminds me of a hopeful feeling. I suppose the idea is that it can be used, potentially as an opener piece for a band somewhere, somehow. lol Let me know what y'all think P.S. Yes, I know there are a couple of engraving errors, such as Dynamic marking placements for example. The score isn’t a polished and finished product, 100% as of right now. Just an FYI 😅 Thanks!! -Unc whatliesahead.pdfWhatLiesAhead.mp3

yes! there are a large variety of ensemble choices available, which, in the context of concert bands, are largely comprised of wind instruments, almost exclusively, with a bigger emphasis on accompanying percussion instruments as well.

I like what you have done here by essentially utilizing a well known (and somewhat cliched) sequence off the baroque period (Handel comes to mind) before demonstrating the range of tonal and chromatic possibilities with emerging romanticism. I admire your work. It at times feel they read too much as a technical exercise in counterpoint and voice leading. Your melodies need to sing! As Luis pointed out, the excessive use of arpeggios in the midi betray the experience. You could change the instruments to woodwind or strings to allow the suspensions to be sustained clearly, and utilize a quality sound set like the musescore library. You’re always on point with the technical delivery. But this doesn’t always guarantee that we ‘feel’ it. Just a suggestion ☺️ ps I’m Markus, nice to e meet!

Interesting stuff. I appreciate what you are trying to do with the key idea although to only have one single motif risks monotony, particularly when in a largely homophonic style. That said, monotony can be delivered ingeniously such as that first movement in 3rd symphony by Goreki, in which he embed essentially a dark and soulless motif that he sustains for well over 13 minutes, starting within the bass before consistent layering with the other instruments of the orchestra it above while rising steadily in pitch and dynamic intensity… before descending with largely the reverse. All of this is said to depict the machinations of nazi germany. Perhaps even the banality of evil. the key thing is that his motif seldom stops… it keeps going and going. Modulations are sparse, again perhaps to make it devoid of color. All of this is beautifully contrasted with a human voice emerges from those depths afterwards. This piece just came to mind because of the political connotations you’re striving for. Here it is

Hello, friends! How are you doing? I am happy to present my latest composition to you. This one is more challenging to listen to, full of contrasts and wildness that are typical for me, even though I try to incorporate a certain system into my music, which may not be obvious at first listen. Thank you to everyone who decides to support me by listening, and I wish you every success in your creative endeavors!

Thanks very much for your suggestions! I'm revising the score to make some of these fixes. The cello line is not really meant to be the main feature; I think of it more like a cantus firmus, and I prefer the familiar melody to be there more subtly. But I didn't write slurs into the cello part just to try to give it a little bit of detachment from the other parts. Not sure how well that works, but that was the idea. The two quarter rests in those measures you mention are because the a tempo comes only on the fourth beat of the measure. Thanks again!

A nice and cute miniature piece. It is (obviously,) one movement long, and has 124 bars. It is written in Ab Major. https://musescore.com/user/96214813/scores/35260994 Sketch No. 1.mp3 Etuden Op. 53.pdf

Hi @JorgeDavid, Below is my review of your waltz: Form: There are two district different sections that have their own character with the composition. The tonal centers and relations between is not common. I feel this would fit with in middle romantic period. I am not sure about the dramatic pause at the end of melodic phrase. It is rather sudden and jarring. It disrupts the natural flow of piece. Harmony and texture: There is a high sense of chromatism with in waltz. I wonder about how those harmonies are prepared and resolved correctly. The bass line fits with in the standard waltz type pattern in first section and breaks away in the middle section. Thematic material: A couple things to note: the ending of each melodic phrase with chromatic note seems unsettling. G-F#-A. While there is a sense of melodic sequence with each phrase, it is hard to detect the general structure (sentence, period, or hybrid). This was original piece and was truly creative. With in my musical taste, I like to hear more music like this. I.e. find a way to create a natural flow with each phrase. think about what I said about structure and form and how the works with the underlaying the harmony. Otherwise, you good start. Kvothe.

I like the sparse atmosphere, and I think you developed the material in a creative way on the 4th page, cranking up the dissonance a bit. This has an exotic flair to it. It's got a chill vibe, but a potent flavor. Cool! Thanks for sharing!

Hi Nd, welcome to the forums! Do you happen to have a score of this? Interesting choice of piano, by the way. I'm not particularly fond of the way it attacks the notes that are outside of the high register but that's a more a matter of taste than anything else I will likely say in this message. I found some nice moments of calm in your piece, such as the section starting at ~1:10, or the section that preludes the end. Some others, such as the accelerando + pedal and the passage preceding it (1:35 and on, more or less) were not really my thing, they seem forced and for me, not in a good way. Question: did you publish the No.3, No.2 or No.1 here? Just out of curiosity. Best regards, Daniel–Ø.