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Hi to all, Here's my first attempt to orchestrate this nocturne. I actually started this last year, and never really finished it properly. I know there's a load of things wrong with it! Not least all the missing slurs and clumsy handovers, etc... The cadenza-like figure on Pages 8 and 9 is particularly awkward to orchestrate: so any suggestions would be very welcome! Maybe I should divide up the runs into shorter figures, and spread them out across different instruments? Perhaps dovetailing these together with overlapping notes, or single handover notes? That way the cadenza could work its way around the orchestra to give a nice 3D effect? Anyway, just thinking outloud! Hope you enjoy. Nocturne No.1 in Eb minor (Faure orchestration) #41.mp3 Nocturne No.1 in Eb minor (Faure orchestration) #41.pdf

Hello I have to say that, overall, it sounds very good. Without being a super-expert in orchestration, I think I’d take a closer look at a few things. For example, there are some very large leaps that could be handled differently, such as the bass clarinet and oboes in bars 9–10, or the tuba in bars 107–109. There are other examples too. I’m not familiar with the original version, but perhaps it’s a bit too literal. There are very low registers for some instruments, such as that piccolo arpeggio in bar 87. And with an impossible pppppp dynamic, which is also incongruous: as it ascends, it doesn’t make sense for the volume to decrease.

Yes, I do understand. I think it depends a lot on what your goals are, how you work, and why. For someone who arranges or produces music, who works with a DAW, a ‘wordbuilder’-type concept will be best because the result is surely more realistic (at least for now, given that Cantai has only been on the market for less than a week, according to Dorico). It also allows you to work with lots of different software. But that’s not my role when it comes to music. What I like is writing music and getting it to sound, more or less, acceptable. I do it purely as a hobby; it’s not my profession. And although I’ve used Finale and MuseScore, I’m much more familiar with Dorico. That’s why this integration is brilliant for me.

You Don't have to live in the past...................Your Free to Embrace the Future. Since joining this site in late February this year, we've had over 1.000 emails requesting Quotes for compositions from Vimeo.com , via Youngcomposers.com Does anybody know if this site is hosted in the U.S.A ?

Hello @Alex Weidmann. This is beautiful orchestration of Faure's Prelude. I love the tonal colors and textures you have created. However, I have a few minor suggestions. I would recommend have full score on page 1in score order. Then following pages, you can condense it. woods and brass usually share staves. That way, you can write a2 or which wood part or which brass part. The Pitch percussion is barely noticeable. Same goes for the harp. 3 and 4 have to do with orchestral balance issues.

That's a lot of info dumping...with very valid comments from @Kvothe and @MK_Piano. I am curious if this specific piece was requested by a 3rd party or did you create for your own learning/pleasure? I'm also not understanding your answer to @MK_Piano's question of how you write your pieces? You mentioned keyboard...do you input the notes and everything using that keyboard? Or it does it come with pre-rendered samples and you just mash them together? I'm a noob when it comes to electronic music... As for the piece of music here, it's alright. It's catchy but repetitive and generic. Not really sure how it ties to Alaska...if you didn't have the video posted, I would've chalked it up to random elevator music. If what you say is true about how the media industry works, it's a shame that the craft of a music making to tell the story pioneered by legends such as Korngold, Newman, Williams, etc. is dead.

Since today is this year's Mother's Day, I finally decided to finish revamping a composition I had already published for the very same occasion 3 years ago. Compared to the original, the whole piece has been transposed from E to B minor in order to better accommodate for newly included passages. However, still not dissimilar from the first drafts, passages with constant false relations are abundantly featured in this piece, to the point that the harmonic resolutions expected of more conservative counterpoint are frequently sacrificed for the sake of chromatic saturation. Scrolling video link (YouTube): https://www.youtube.com/watch?v=mYUZX-iQSF4 Passacaille en Valse in B minor.mp3 Passacaille en Valse in B minor.pdf

I don’t know why it’s called ‘Cantai’. But I don’t think it has anything to do with artificial intelligence; rather, it means ‘to sing’ or one of its verb forms in various Latin-based languages. What’s more, it uses recordings of real professional singers (soloists and choirs). I’m familiar with that software you mention. And I used to have it, but depending on what you want to do or what your needs are, it’s better or worse for different people. What I like about Cantai is that you write the notes and the text in the same editing programme (MuseScore, Sibelius, Dorico). And that’s it. It uses expression maps for dynamics and so on. You don’t have to work outside the editing programme (in a DAW, or in XML, etc.). Which is fine, if that’s what you want to do

waltz 2.mp3waltz 2.pdfwaltz 1.mp3waltz 1.pdf would enjoy feedback

Welcome! Don't worry! You will do fine.

[INFO DUMP pt.2] Unfortunately this scenario is only hypothetical and will stay hypothetical. To be as blunt as possible, there is flaw in the logic. So far, no one I have seen on the forums or any of your uploads have critiqued the raw music. It has been often aimed on the presentation of the music and in this case, about the sheet music. Having music performed is a competitive goal. 100s-1000s of people submit works every year for performance opportunities, both in the educational and professional scene. Speaking from my own experience, all the opportunities I have applied for have asked for a Resume and portfolio. Even if you have "the best work" from an subjective standpoint, they will go with the more experienced person in the professional scene and in the educational realm, they are more likely to give more chances to newer composers. I have made over 20 original pieces that I personally say are perfect and several arrangements. Most of my pieces are for the orchestra, and in my notation engine... I have over 100 files worth of scores. Out of all my music, I've been given the chance to have only four of my pieces performed, three of which were by me. I cannot understate how hard it is to get music performed for large ensembles. Yes, I know a lot and can guide a lot of musicians, but I am just another dude who does not have a big portfolio. I have to start small and work my way up. If a producer asks if you have a portfolio, this indirectly will show if you have had music performed, NOT just if it was made. I can draw a stickman but I do not call myself Monet or Dali. Just because you made a song or two is great, yet, how much experience do you have hearing your music live? If you haven't... then how often are you participating in the music community? Have you worked with other conductors, professors, soloists and varying ensembles? To tie back into the forum, we only want to see others succeed. This is why I share such detailed analysis of varying scores. It may be the one encounter that opens a new door in their thinking, or help provide an expectation of scores in the community. This is why I comment now. None of it is personal, at least coming from me. If you wish to talk about score engraving, then I'd be willing. It's a different ballgame compared to the music creation.

Hi! Actually I just completed my piano toccata piece inspired from living near the motor city (Detroit, MI) in my childhood... I decided to make this toccata piece since I thought the mechanistic characteristics of the genre match well with general images of the motor city... In this piece I tried to express free style of lots of jazz and popular music heard when I was growing up near Detroit, while keeping this piece modern classical music... Hope you enjoy this piece, and please feel free to leave any comments and suggestions :) Motorcity Toccata.mp3 Motorcity Toccata.pdf

Just looking for general feedback on a less adventurous work before I dive into a more involved work. I feel like advice on the use of harmony and motifs would improve most of my work, and I could develop those skills by learning to improve some of my existing work. Waltz in Eb.mp3

I wanted to share a recent project for school; I wasn't quite sure which forum this belonged in. It sounds best on headphones. I would love any feedback; this was made entirely with Cubase virtual instruments so the rhythm guitar might be slightly annoying. That said, I would love to make a proper recording of this piece in the future.

Try to cut the delay on the F# and put the F in a lower octave. But most important: adjust the length of the delay on the F# if it can be isolated. If not maybe you don't need it for that bar or beat. Not sure what software you are using or how much control you have of the effects. You could also double the F in a lower octave and leave the one you have in the lead voice. Might help...

Hello @barko -- thank you for listening and for the encouraging words! At 1:24 I know I definitely intended a G7 chord, but the F sharp from the previous chord is still present and clashing with the F because I'm using such long delays. I will experiment with voicing the chord change differently and avoiding that half-step rub. Thank you for pointing it out. 🙂 ~ Gwen

Very nice melody & chords. I agree with Peter, the title is perfect. There's a bit of an awkward moment @ 1:24 where the note doesn't blend with the chord. Maybe try another voicing? Anyway you certainly have talent. Good melodies are not easy to come by. Keep up the good work!

Hello! Thank you for the kind words, and sorry for the delay -- I just finished the Spring semester of school today. I just posted an alternate version of this piece on my SoundCloud with a synth pad I thought was interesting. It's a bit "thicker". I would love to hear any thoughts if you feel moved to listen. https://soundcloud.com/gwendolyn_przyjazna/the-solitude-of-summer-alternate-version

New version with synth ("Wave Turn Around" from HALion Sonic): https://soundcloud.com/gwendolyn_przyjazna/the-solitude-of-summer-alternate-version

Sounds good! Very relaxing and it does remind me of summer. Maybe a pad synth sound in the background?

Hello Peter! Thank you so much for your thoughtful feedback! I will consider recording the rhythm part on electric piano. I tried it out really quickly in Cubase. I came up with every chord at the guitar but my skill level is elementary and I agree that an electric piano might be an improvement -- especially a softer timbre. I'm glad this tune evoked a clear atmosphere for you; while writing it my mind went to taking walks around my California neighborhood in the morning with the sun being very strong. It kinds of melts any thoughts away and maybe that's why if the music sounds circular. I'm happy if the conclusion sounds solid; I struggle with endings in general lately. :S The assignment was: "Compose a short piece of about 32 bars in length in AABA song form that modulates to a distantly related key and then returns to the original key." Other than that it was really open-ended. 🙂 Thank you for listening! ☀️ ~ Gwendolyn

Hello @Gwendolyn Przyjazna! I think you picked the perfect title for this instrumental. It sounds to me like you could substitute electric piano for the rhythm guitar - and right now, the way it is rendered, it sounds more idiomatic to what a piano is capable of playing rather than a guitar imo. I think the guitar melody is especially evocative of solitude. It also uses a good blend of unity and variety - repeating certain phrases and elaborating on others in an unexpected and musically interesting way. The almost-aimless nature of the harmonic progression sometimes makes me think of someone in the throes of a heatstroke, which is very appropriate for a piece about summer! LoL I think It ends very nicely too - making a piece like this sound like its concluded can be difficult - it sounds like it just wants to go on and repeat itself forever. What was the assignment/prompt that this was written for? It is very interesting music and with a unique melodic sensibility that seems very individual and personal to you. Great job and thanks for sharing!

It's been quite a while since I posted anything on here, but then again I haven't written much other than many failed attempts at writing songs. Recently I decided to just shed the lyrics and concentrate on the music, so here goes...

I've added the score.

Thank you for your thoughtful and complimentary review. Just to clarify, the intended harmonic structure (of the A section or main theme) is mostly a quick journey through the cycle of 5ths (loosely speaking): Em7 - A7 - Dm7 - G7 - Cm - Em7/B - Ab13 - A7 - Dm7 - G7 - C with a few random or nearly random dissonances thrown in. To me it clearly ends on the tonic (ignoring the random dissonances thrown in for laughs) though it's true it starts on 3m. Thanks again.

Hi @barko! A quite unique little waltz that seems like it does nothing cliche. I've listened to it a few times now and it's very individual and interesting! It definitely has a specific tonality, but since it either doesn't start or end on the tonic chord it's hard to determine just from listening what it might be (which I think is a good thing and generates much harmonic and melodic interest!) I also love the unusual combination of instruments that gives this quite a wacky flavor. Tuba +Organ + Saxophone + Pitched Percussion works really well. Thanks for sharing! Peter

Over the past half a year or so, I have been working constantly on these pieces, it taking the highest priority out of all the projects I had been working on. Throughout these pieces, I explored and pushed the boundaries of my own style, experimenting with conventional and unconventional harmony, and attempting to embody some of the composers I most idolize. This is the first time I've ever undertaken a multi-movement project and truly experienced what it's like, and it has been such a satisfying and rewarding 6 months. I've written, rewritten, and rewritten again many of these pieces, but it's all worth it. Presenting, Obscurity.

Have listened to the whole suite now. I found the 2nd movement both playful and disturbing, the 3rd was dramatic and scary, and I especially liked the soft woodwind passage near the end. The 4th had some very interesting harmonic progressions and use of dissonance, and the 5th brought the suite to a frenetic and virtuosic conclusion! A very enjoyable work overall. Hopefully you'll get some reviews from those here who are better at analysing harmony and structure.

thank you, do tell me what you think of the other movements if you get a chance to take a look at them!

thank you very much! the formatting of the parts did worry me initially, but i think that's an easy fix, since it's just changing the dimensions of the page.

Incredible work. Bravo. This suite displays a mastery of harmony, orchestration, motivic development, and form. I’m very impressed by musesounds here aswell. I initially thought it was a live performance. The textures and orchestral writing are surprisingly full sounding despite the lack of brass, especially in the first movement with only light winds, strings, and a triangle. I do have one immediately noticeable problem in regards with the score, namely in the final movement, there are so few measure per page and the music is so fast, the conductor would have a heck of a time trying to make those page turns. Other than that, it is in my eyes a flawless creation, atleast upon first inspection. Maybe after a few more listens I could have more beneficial feedback.

Your first movement has a very profound sense of melancholy, combined with a mystical quality. This seems like an unusual combination; though not necessarily a bad one. Perhaps your work is living up to its title, and the meaning is obscure! I definitely feel compelled to hear the other movements: so will write more once I've gone through them.