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I really like how the piece patiently unfolds it's texture and content without trying force it's melody out so strikingly against the accompaniment, rather they compliment one another to create that moodiness, the erraticness sounds natural rather than abrupt... The continous motions of the accompaniment make the pauses in the ending measure and the ending feel well-earned rather than just reached.

@Wieland Handke Thank you for the very in depth response! I actually did not know about this complimentary rhythm thing but I think it was something I was doing instinctively. For some reason I was actually avoiding it somewhat. I think I was trying to give the music room to breathe or something. And I think I might have focused too much on each line being independent and having a very coherent melody when played just by itself. At first your modifications sounded awkward to me of course I am used to my own version but after a few listens they do make a lot of sense.

Great piece! I like a lot the phrasing and the interpretation. Some passages made me think of some pieces of Cécile Chaminade (Automne, for instance). After listening to it twice, I felt there may be a moment towards the central section of the piece where it was going a little too long. However, I agree with @Grant Weep analysis: the piece is emotional and it needs time to develop. Looking at the score in the video, I noticed something that I also experience with many similar videos. I usually read a little ahead of the music, so I often find that the score moves to the next line or page too late for me. I don't know whether there is an optimal solution to this, since the best moment to turn the page depends on how far ahead the reader is following the score. However, I think this may make the experience somewhat a little frustrating for more experienced musicians.

Yes

Hi to all, it's my first post in this forum. I would like to show you Varenna Suite, a piece I wrote a few years ago. I wrote a text adventure game called Silk Dust running on many 8 and 16-bit machines and I wanted to provide not really a soundtrack that would be synchronized with it, but a series of pieces that would help set the mood. Imagine playing Silk Dust on a Sinclair ZX Spectrum or a Commodore 64 and listening to the music from a cassette player 🙃 Varenna Suite was composed by stitching together the themes that I wrote for certain parts of the game that took place in Varenna, on the shore of the Como lake, in Italy. Hence the different themes present in the suite. I used Logic Pro and the orchestral sounds are the Spitfire Audio's BBC Symphony Orchestra Discover. I also prepared the score, although looking at it again now, I have noticed a few minor typos. I write electronic and orchestral music, so any feedback would be greatly appreciated. 1 - Varenna Suite.mp3 Varenna Suite Full Score.pdf

Nocturne- E minor.mp3Nocturne- E minor.pdf Hello. Recently finished this piece and felt it was something interesting to share; What i feel makes this piece distinct is that its quite heavily harmonically driven, as in the melody doesn't stray far from the current harmonic background; I'm quite satisfied with the structure, as i feel it keeps the piece interesting and fresh all the way through; I'm still not sure if i should say this piece is in E minor, as its never really suggested until the very end. (also this piece used to have a subtitle in early stages, but as i was composing further on it didn't quite stick, so some ideas of what to call it would be nice) Thoughts and feedback are always welcome. Enjoy the music.

When you said You mean when you first sight read the piece you already try to incorporate as many details as possible all while figuring out the notes and playing as closely to the intended tempo?... that's really challenging haha

Hi @Aw Ke Shen ! I actually did this before when I was young, as I always press the middle pedal of an upright to practice so everything is muted. I did this to strengthen my fingerings though. Your learning approach as you describe would be mainly aural and theoretical, but there are also some people who learn by auditory or manual method, so it really depends. My recent learning approach would be to play the piece as close as the original tempo with all details. By forcing myself to so many things happening I actually learn faster than just grabbing details first, probably because I’m an N person (intuitive) in MBTI instead of an S person (sensory), so I need to grab the big picture before going into details first. Henry

HELLO Let me just say that if you have no experience in composition, you’ve got a long way to go before you can compose a proper fugue. I get the impression you must have some knowledge of counterpoint. But before you start composing fugues, you need to master other, less demanding areas of strict counterpoint. It’s simply not possible to come up with a logically structured composition just by studying two of Bach’s fugues and leaving it at that. What you’ve written doesn’t sound bad, but, in my opinion, there’s a point (which I think is the one mentioned by @Lithl ) where everything falls apart quite a bit, and that’s in bar 6. Because you’re forming a D#–A tritone which, although the intention is for some of these to be passing notes, I think that should resolve into a Bb chord. Enharmonically, you have Eb–A, a tritone which, in this context, must resolve in this way. The solution you’ve suggested for another context is fine, but here, at least for me, it ruins the whole thing.