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Good luck! That's a very good one. I’ve been thinking about the comment on the role of the contrabassoon here, following on from what’s already been said. I understand that you’d like to use the woodwinds as a bass line in those sections; that’s simply a matter of timbre and so on. Although I’m a firm believer in absolute freedom when it comes to composing, it’s true that I also bear in mind certain general principles. One is the ‘economy’ of instruments. Although I’ll never have a symphony orchestra or anything of the sort at my disposal, I do like to write as realistically as I can. That’s why, if the parts for one instrument can be played by another, I don’t use it. The other principle is to double the bass (an octave up or down), and I notice you do this. This is something I was taught very early on. And there’s a reason for it: the low register is the least audible to our ears. There are exceptions, of course: when the orchestral texture is very light, it isn’t necessary. In this piece, most of the notes for the contrabassoon can be played by the bassoon. Let’s say up to the low C (B flat, actually). To put it another way, I might have used the bassoon for that contrabassoon line and supported it on the lowest notes with the tuba or the double bass. There are sections of the contrabassoon part that can be taken over by bassoon 2, for example in bars 22 and 24. It’s true that the bassoons are in part 2, but it isn’t necessary (with those dynamics – diinuendo and ppp). Well, anyway, that’s just my opinion, based partly on how I learnt it. I was taught that instruments such as the contrabassoon, the bass clarinet, and even higher-pitched ones like the piccolo, were there for when the standard instruments couldn’t play the parts. Sometimes I’ve been guilty of wanting to be too literal when transposing a piano piece for the orchestra. But I’ve also realised that there are times when you have to take certain liberties or make changes to adapt the sound to the orchestra. Best regards.

Let me add something, even though it goes beyond the specific work in question; by chance, I came across an example just today. This is part of the first page of E. Elgar’s Concerto for Violin and Orchestra. A dense piece… Note that for the contrabassoon and the tuba it says ‘ad lib’ (ad libitum). This does not mean that these instruments should ‘play whatever they like’. It means this: -Optional instruments: The contrabassoon and tuba may be omitted. -Lack of players: If the orchestra does not have them, the piece is performed as normal. -Conductor’s decision: The conductor decides whether to include these instruments. This is what I was referring to earlier. Best regards.

dudeeee this is the coolest sh*t. ive never had a work dedicated to me before and with words from my own old poetry writing too? i'll have a lot more to say but for right now like, thank you so much!!!

Guys I am done Ferrum, here is your dedication https://musescore.com/user/96214813/scores/35260994 @ferrum.wav Times.mp3 Times.pdf

Hi @Lithl , Thank you for your comment and the kind words! I agree that the piece does sound kinda cinematic and I love your story - I think you expressed it very well :D. I like the idea of a "journey" of sorts and I'll keep brainstorming for a better title.

yw

Hello, Little fugue i wrote today in the north german baroque style. First musical output in years. Simple in harmony, joyful and melodic in theme and counterpoint. Scored for four voices, work well enough with organ or strings. Fuga in g.mp3 Fuga in G.pdf

Hello! As a pianist, I have no idea how an organ works, as in what is possible to be played, and what is not, but, harmonically speaking, I like the middle section very much. This piece truly brightened my day! The ending was a bit too 'straight-forward' I think you could went for a more 'voice-using' coda instead of spamming chords. In conclusion, I really liked this!

https://musescore.com/user/96214813/scores/35416328 This is my set of 34 variations on the famous theme Caprice 24. It is written in a minor, and has: Allegro Theme (A minor) Var 1 (A minor) Var 2 (A minor) Var 3 (A minor) Var 4 (A minor) Andante Var 5 (A major) Var 6 (A Major) Var 7 (F# Minor) Var 8 (D Major) Var 9 (E Minor) Vivace Var 10 (E Minor) Var 11 (C minor) Tempo Primo Var 12 (Bb Major) Var 13 (B Major) Var 14 (C# Minor) Var 15 (C#Minor) Var 16 (E Minor) Var 17 (A Minor) Prestissimo Var 18 (A Minor) Var 19 (A Minor) Adagio Var 20 (A Minor) Var 21 (A Minor) Var 22 (F# Minor) Var 23 (Ab Minor) Andante Var 24 (Ab Major) Var 25 (Eb Minor) Allegro Var 26 (Autism) Prestissimo Var 27 (B Major) Presto Var 28 (G Major) Molto Vivace Var 29 (G Minor) Var 30 (G Minor) Var 31 (G Major, Alla Polacca) Prestissimo Var 32 (A Minor) Allegro Var 33, Fugue (A Minor) Presto Var 34, Finale (A Minor) Variations on a Theme by Paganini.mp3 Variations on a Theme by Paganini.pdf

Thanks Luis, great points you raise. Hopefully you will have a symphony orchestra at your disposal one day! You never know...

Hi everyone, I recently completed a draft of a short symphonic poem, after a long period of writer's block and not writing anything. I haven't put all the finishing touches on my scores (divisi, part divisions, crescendos are all lowk messed up etc.), but I would really appreciate feedback/suggestions relating to development and harmony. I'd also appreciate knowing what images, if any, it conjures up for you as you listen to it (I'd like to figure out a more evocative title). Thank you for your time :D! Poem for Orchestra.mp3 Poem for Orchestra.pdf

I'v been revising this piece yet again. This time I focused on a more rewritten exposition like introduction that is connected to the material later and tried to make it more cohesive overall. Any feedback is welcome. Thanks in advance. War born draft 5 04-07-2026 - Flow 1.mp3 war born draft5 score.pdf

Hi, Bjarke. It's a really energetic piece. I feel a vibe close to Peter Bence. The flowing feel is good. However, I felt it's a bit cluttered. If you add more extreme dynamics to each section, it might resolve that issue and make it even better. I think the piece itself is good, though! Best, Lithl.

Hello my friends . Here my latest binary Sonata no 25 . I hope you like it

I wrote my first string quartet. I liked it while I was writing it, but now listening back I'm not so sure it would keep the attention of listeners. Maybe I regret opening with a slow movement. I think 2nd movement is best. I like the section in 3rd mvt. from 15:25 to 17:08, because of those chords and the counterpoint. And maybe I should have used more modern harmony in places to spice it up. 00:00 Movement I. 07:27 Movement II. 13:22 Movement III. Od. G. - String Quartet No. 1.mp3 Od. G. - String Quartet No. 1 [2026-05-29_06-41-34] .pdf

When you write for orchestra, you should consider the role each instrument should play in communicating your ideas. Unusually, much of your writing for the bassoon part is not aligned with the bass (taken by the cello's and violas). For instance from bar 29 the oboes, clarinets and bass are all doubled in such a way that is laden with consecutive octaves and 5ths. This is not good orchestration at all. Woodwind passage from bar 29 (bass clef at the bottom) As a basis, I would encourage you to use the bass parts as a guide for your bassoon writing and which should ideally contrast with the upper voices. Furthermore, the below central motif is uninspired/plain without some rhythmic interest. Perhaps consider adding syncopation between different parts to embed some form of dialogue. My feeling is that if you are not thinking yet in terms of that kind of dialogue, you are not ready for symphonic writing. Stick to chamber music - as I have done for much of my work - until you are comfortable with counterpoint and voice leading before going larger scale, is my suggestion!

To commemorate the date designated as Bach's actual birthday under the Gregorian calendar, this time I have decided to upload the definitive revised version of another one of my previous fugues, originally in the key of E minor though still for the same ensemble. I would also like to dedicate this fugue as a birthday present to my dear friend Julia as well, whose family has been going through exceedingly difficult times for more than one year now. Since the loss of a very special loved one has taken a severe toll on us all, my sincerest hope now is that she and her family can start anew and rebuild their lives from the ashes of their grief, even when all hope for a better future seems gone forever and endless mourning seems to be the only thing left to live for. Bach himself was no stranger to painful, heart-wrenching losses. Even as he lost both parents at age 10, his first wife at 35, and in line with the astronomical infant mortality rates of his era, more than half of his 20 children during childhood, he was likely reassured that his dedication to God alone through his music would be worthy of a place in Heaven for all those he loved and whose safety he prayed for daily. This key of F-sharp minor in our currently standardized A = 440 tuning always evoked in me a far greater sense of mourning in the wake of tragedy than any other. Perhaps because of this reason I felt naturally drawn to it when thinking of those precious loved ones we may have lost along the way, the precious, cherished moments that will never again come to pass, and the longing memories broken by the sudden wound their departure left forever imprinted in our hearts. Scrolling video link (YouTube) Fugue in F-sharp minor for String Quartet.mp3 Fugue in F-sharp minor for String Quartet.pdf

okay, for some context, i had to dig up an old friend's old discord dms to find these. also, i dunno your expectations on these but i hope they're good enough? they are very old so my writing skills were...meh i guess i dunno. you can pick/use/choose any of 'em. #1, this is from october 2018. i think this is about the time that i was discovering my feelings for somebody for the first time ever. i was clueless lmao Question. Once upon a time In a day with lots of rhyme In a school with students learning In a break with never ending I saw a lady Who walks silently Towards the cafeteria With none other than her friends I cant believe what i just witness As i stopped walking because her sweetness As the lady smiling beautifully But, I don't know what to expect A year passed My feelings lasts But there is a question That needs an attention "How do i get to her?" I asked "When is the time?" I shrieked "Where is the place? " I reflected But I'm afraid, I'll be rejected I saw the lady everyday Finally i knew her name With the feelings of lame But, when do i get her? The same question popped up As the curiosity blows up But when do i get the answer When she doesn't even give me a letter? I tried to give the lady a letter With thought that i will get to her But the reality have really shown me That the lady did not even read the letter The same question popped up As the curiosity blows up But when do i get the answer When the lady didn't even read the letter? #2, this is from november 2018 Time's One time, i look at the window With the sadness being so low I enjoyed the beautiful noon And i wished it won't be gone so soon A month passed I saw a tower being constructed I like that tower So my happiness still in me later 2 months passed There's no birds around I felt kinda sad But there's no sign of anything bad. 4 months really passed away The scenery changes really quickly As my word become more badly I felt like the old times are really done I felt like the happiness are really gone Usually i like new good things But this time, it really stinks It stinks like an old socks That are left in the ship's docks Why...does...that...happen....?