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My Piano Sonata No.1 in F Minor composed in 2018. The sonata has 3 movements and is written in a romantic style. The first movement is in rondo form. The second consists of a prelude and a short fugue, and the final movement is more free in its form. The sonata is inspired by some of the works of Chopin and Beethoven. I'd be interested in any feedback. Sorry about the awful recording quality.

I'm a doctor for what's its worth. Please everyone, relax. Certainly, there is concern particularly for the high risk elderly and those with complex medical issues but for the vast majority of people, this is really similar to a bad flu which is also high risk in elderly and patients with complicated medical issues (yet people still don't vaccinate for this......). Take the usual precautions by good handwashing/hygeine, avoid large crowds when possible, and look after your loved ones who are higher risk. The hysteria can be worse than the disease itself.

***** Anyway I've already commented on this person's efforts several times with no acknowledgement or thanks when I really should be putting time in on a project even if stalled by this latest virus thing) so I won't be commenting again. . ***** @Quinn, I get maybe four acknowledgments out of ten comments I leave. It's a problem around here, and it's just bad form.

A prelude I have composed yesterday. I hope you like it!

Hello everyone! I'm Norbert from Hungary and want to share one of my pieces with you i've written 5 years ago. I included a little backstory for this piece about how i made a little "Fiverr Orchestra" to play my piece which i mixed in with Note Performer 3's samples. Please read it before making any comment, because context matters! Thanks for listening! Enjoy! : ) (I also included the original midi files, along with the recorded live files and also of course the final mix with score. Also i'm not promoting Fiverr in any way as i stated in the pdf, i just wanted to give credits to the musicians involved, because they deserve it!) Here's the link for the midi version: https://drive.google.com/open?id=1CaRCS_8gdb49YOsqAAbKMmhM5eFNbEUC

Hey Youngcomposers! Been a part of this community for years, and I'm so glad to see it's still growing! I wrote just a little adventure piece with some Celtic influences. I hope you enjoy it! I had a ton of fun writing it. Edit: I also threw this piece with some other ones on spotify. Feel free to take a listen! https://open.spotify.com/album/5I1tcYvpdeea9p3MQ5nrOQ?si=juYyyaajQVKWafkLuKM21Q

yes but so far it's @jawoodruff , @Moueen Issa , @TheCluelessClariney , you and I, But i think we will wait 2 days for everyone who wants to join to join.

Just completed this after spending two months trying to come up with something in F. Decided to experiment a bit here with weird rhythms etc. and don't know if it is a successful use of these things or not. Any advice/feedback is greatly appreciated, cheers. Also thanks @Tortualex, @maestrowick, @Jean Szulc and @J.Santos for your feedback on my previous Eb min. nocturne. I'll work on the suggested improvements but it will most likely take a while as it take me ages to come up with anything now.

Hi, here my new baroque piece. I dedicated some time to write down all the ornamentation for the solo oboe part, though I'm not sure if it would have been written like that on the period, or if it was the player who freely chose the appropiate embellishments. Anyway I had to write it down on my notation program if I wanted it to be played like that, so here it is. Let me know your opinion.

It's been a while since I've written something truly tonal; even my musical theater stuff uses post-tonal theory. You'll hear the main motives a lot, and my intent was to practice imitation in various ways. Hope you enjoy!

Hi, I am from Syria and I'm 19 years old. This is a short solo piano piece I have composed. I hope you listen to it and give me your opinion!

It sounds amazing! Thought there's 2 things you could improve, and I'm not talking about the piece!!! First of all: speed is not always a way to show something good. I will greatly slowdown that tempo. You need to prove a lot of tempos before deciding one. Second, it would be nice if you bring us the score too! If you have it we could criticise the scoring and have a more clear vision of the music. Keep doing this well!

It's a simple influenza with a bit of more issues. Only old people or people with diseases as hypertension are most probably to die. The chance that someone healthy or even normal is going to die is 0.5% more or less. Even counting vulnerable people it's still lower than 2.5% mortality rate. Don't panic, that's simply stupid. Wash your hands and try not to expose to the virus (touching with the hands things in public places or contacting people phisically without being able to clean your hands/face)

I really like your suggestion. Everyone on this feed has been awesome. Writing the piece itself is not difficult. It is a large-scale show, and that’s not the challenge. I don’t doubt my capabilities of taking on a big project. I’ve always been a compulsive worrier. I’m very proud of my opera and I wouldn’t be writing it if I thought it would sit on a shelf and collect dust. There’s that “tape that plays in my head” that is trying to convince me to drop everything and give up. I’ll be poking around on that website.

@Left Unexplained That's a part I quite associate with you 🙂

I'm interested

Agreed. Take a look at the Bach Partitas and his Cello Suites to get some ideas of writing for unaccompanied instruments.

Arranged and sung by Singers Unlimited. Sounds a little like Satie but it's not.

Your compositions are sounding a lot more purposeful, which is great. Congratulations on your imporvement. I do think the modulation is quite "crunchy", as you called it. I think that in this case, you could go way simpler than that. G - D7 - Am - Em - Bm - E7 - A Major or Minor, you decide. If this is used with good voice leading, it will make up for a really smooth modulation. Other paths are surely possible, I was just sujesting something for you to try. Good luck!

Could be problematic because oriental music doesn't follow western form. Its relevance in Chinese culture is less significant than "classical music" in ours because it rarely featured in religious ceremony. Of course, recent Chinese composers have tapped into western resources. i seriously doubt you could extend that tune to a few minutes without it getting boring. But...why not listen to a few tracks of traditional Chinese opera? Absorb it. It'll suggest harmonies that you can tap into. Do a google search on Chinese opera and click on videos. Some will sound strange and alien (because they are, to us) but bear with it and see what you can find. You could also try looking up music for erhu, guzheng, pipa (a kind of lute thing). There's quite a lot about that could help with form. Here's a nice guzheng piece:

No. Unless you're doing a tritone substitution, a V+ chord has dominant function while augmented 6ths have predominant function. V+ is pretty normal rock + musical theater chord because the sharp 5 voice leads nicely to the major third of the tonic.

I always wanted to make something electronic, but I'm pretty bad at it so, here's a sketch of a "piece"(?) that is mostly electronic. Just audio because, is hard to write a sheet of this. is not finished Btw it is a 6/8, and if it helps, the progresion is Im, IIIb, VIb, V in C minor. Any comment is apreciated :3

Well, not much to say this time. I've been seeking for parallels for over, like, 3 hours (well I don't really know how actually long) since I finished it until now, but there might well be too many my sight may hat übersehen (I'm not German but anyway, sometimes other languages are better at conveying quite specific meanings in instances like this one :D). So, without further ado, here it goes. Hope you enjoy it!

Watch out for parallel dissonances (i.e. Nocturnal m. 6 in both right hands), and this applies for any two set of voices. If it's a short-term voice exchange it especially needs to be considered carefully.

It's why I just said care is needed. There are exceptions to all the rules. If you're writing classical CPP stuff, it may be best to write the strings in 4 part harmony like "the greats" did, with the DB double the cellos at the octave down - sometimes exactly, sometimes pizz or rhythmically broken up but still following the cello part. As things developed the DB has been given greater independence. As you spotted it all depends on chord layout too. There are times when you want a dense thick sound in the bass and the process is as applicable to brass and w/w as strings. E.g unless it's a featured solo, composers rarely give the double bassoon an independent part but if you wanted a grumbly, threatening effect, primeval things creeping up out of the swamp! that might just be the thing to do. Ordinarily, if you want clear sounding chords and harmony you put the big gaps at the bottom and follow rules like don't double the 3rd if you can help it (except Va to VIa) (aside from the doubling of cellos and basses. After all, that's a reinforcement issue rather than timbral.) Anyway I've already commented on this person's efforts several times with no acknowledgement or thanks when I really should be putting time in on a project even if stalled by this latest virus thing) so I won't be commenting again. This composer has all the hallmarks of someone trying to orchestrate with almost no study of orchestral writing. Rather than churning out more stuff her/his time would be better spent studying a Beethoven Symphony score. I'd recommend his 3rd or 4th Symphony - the latter, peculiar for several reasons.

I love how people 'prepare' for this disease by stocking up on milk and eggs. You know things that perish within a couple days. It's like possibly being denied their fruit loops and milk on a given day will be the worst but they don't really care about starvation that much.

Ok, I've said this in response to another of your pieces, take great care if you give the double basses an independent line in a tonal work of this kind. It's going to make the bass sound muddy. The solution is to rewrite the string harmony with the cello playing the bass line. Then you can double it with the basses playing pizz - not just on the first beat; sometimes the 1st and 3rd beat, sometimes the 1st 2nd and 3rd. There are lots of things you could do with the bass line though.

I wrote this little pice these days of quarantine....

Hey boss, put your name on ALL OF YOUR WORKS!!!!!! With that being said, I think you can add more. You can develop your motives even further. I like where this is headed!

I've been working rather hard on this piece and have a full movement of a concerto, I hope you guys enjoy and any feedback is welcome.

Thanks for the response! 🙂 The main thing you need to look for is NotePerformer, which only works with Sibelius and Finale. The base application, like musescore, sucks. NotePerformer makes it sound great.

my take on the canon

I think I am scared of boring the listener by reusing material but I think that is unfounded. yes i did misspell canon but yes I am trying to blow stuff up

Interesting concept. I know when I was studying at CCPA in Chicago, we had a piano that was able to play microtones. I honestly never got into it -even though I know the potential for enhancing and expanding the scope of harmonies is greatly increased through the use of microtones. That said, nice work. Would love to hear it live.

I think this will be incredibly hard to play if divided into two people. Perhaps a two keyboard harpsichord might be useful, if each one is tuned a half-tone apart. Besides that, I don’t see another way of doing it other than by an immense effort by a couple of musicians.

There's a bit of a difference between this sonata and my previous two. For starters, this is probably a more serious attempt at the genre. I've never been a good person to describe my works in non-abstract terms. It is safe to note, though, that various parts of the piece explore septal and quintal harmony as well as a juxtaposition of whole tone tonality amid heavy chromaticism. That said, as I mentioned above, this work definitely seems like a strong development in my overall compositional ability. I'm not sure if there is a bit of maturation occurring or what -I'd be interested in everyone's thoughts! Hope you enjoy!

To me, it was a very pleasant and, at times, emotionally stirring listen. Perhaps a bit repetitive, although I don't think that's quite as much a problem in filmscore as it is in "serious" classical music. I'm no mixing expert, but everything sounded of professional quality IMHO. The choir meshed very well with the backbeat of the drums, and the soaring violin was not overbearing by any means. Sounded like it could've easily been lifted from a film! It looks like you've put a great deal of effort into this and I'd say your final product reflects that. Great job! My guess is Harry Gregson-William's scores from the The Chronicles of Narnia. Not sure of the exact song name (Title Song? lol), but I do hear similar chord progressions and drum sequences.

I'm glad you liked them and hope I did the ideas justice. I'll probably write more of these and refine it some.

I loved it although this isn't my style. It is well-crafted! Can't wait for the next piece!!

A flute solo accompanied by wind ensemble themes include: Battlefront Fanfare (intro & fanfare) Within Royal Halls (Baroque section) God’s Garden (ballad & ending)

And Every Purpose Under The Heaven

Beautifully put! Why don't you just write a self-help book already? 😉 And, yes, I agree with this @iPiano7. Stretch yourself and see what shape you fall back into.

One of your best works, in my opinion. What VST do you use? It sounds non-cinematic while also packing quite a punch.

Form is a difficult topic with contemporary music (as the term seems to be used in the UK, as opposed to modern). As developments broke with tradition those traditional forms were eroded or abandoned leaving composers to work out things for themselves – if they found it necessary. To me, it’s feasible for the form of a contemporary work to be unique, a one-off, especially with through-composed works where proportion and episode are more relevant than traditional structural components. It isn’t saying that a contemporary work shouldn’t fit a traditional form just that it’s less likely to – and may actually be formless beyond its internal logistics – how the material is drawn together. On setting out on a new composition the last thing on my mind is its formal construction. However, proportion and contour (particularly in dynamics and timbre) are very to the front along with how well motifs can be exploited.

so mysterious and beautiful! the harmonic complexity and the richness of texture are stunning

Sonata_in_B_minor_W.I.P..mp3Here I bring you the Sonata I'm working on. At the moment I have what I think will be the first movement (i think I need way more developing and some readjusts). Should made an scherzo as second movement or as the third? My objetive is: I. Sonata form, Andante con fuoco ("tempo di introduzione adagio maestoso") (B minor) II. Scherzo, Allegro/Vivace (G major) III. Probably any kind of slow movement (B minor) IV. Rondo, Presto (UPDATED TO iii.Presto (Finalle?))Sonata_in_B_minor_W.I.P..mp3

hey everyone happy to have some feedback on this piece i wrote the other day, any constructive critisism welcomed https://soundcloud.com/jacob-ticli/reunite

i don't believe in that at all. What makes a music (subjective) sad or not is not. the key but a whole bunch of things. When I write tonal music, the key is chosen depending on the instrumentation and the range of the instruments. But, of course, you may think the opposite,

It's.a huge work. Surely some people will tell you it's a mix of styles. It sounds jazzy i the beginning, classical and romantic afterwords. To speak the truth, I hav no problem with that. Even the beautiful "dolcissimo e cantabile part" has its place for me. I only have some observations: -The thick chords at the bottom f the piano (measure 10) are always "dangerous", but you go up quickly and they seem to play a role there -I'm not very fond of so many octaves (right and/or left hand). It's, perhaps, my particular taste, but I always try to look for other solution avoiding the octaves.

I am very romantic in my compositions. I rarely write in any other style. The atonal music I was forced to write I tend to just keep stashed away :).