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Hello! Over the last few days, I’ve listened and looked at the score quite a lot. I felt it within my interest to analyze the score. The attached PDF is culmination of my annotations and comments. If you have any questions, I’ll do my best to answer! Good work! A. Ko - Poem for Orchestra [ANNOTATED].pdf

Hello @MK_Piano , It's an honor to get such extensive feedback, and I'm especially thankful for your notes on engraving in particular. As a string player, I know how much notation matters for performers, and I'll be sure to make those changes as I revise (though I don't anticipate this piece seeing a live orchestra any time soon, especially as an amateur composer). I fully agree that this piece is pretty texturally monotonous, and think that I'll need to continue studying scores to gain a better grasp on orchestration, texture, thematic development, and the likes. Thank you again for your time, knowledge, and the depth of commentary you've provided! I was wondering if you had any particular suggestions for creating more motion throughout the piece, and if you know of any particular scores/treatises that I might be able to study and make my piece more effective (I'll do lots of listening/studying on my own as well) -- I would definitely like to develop more robust parts for the brass and other areas that I haven't quite done justice.

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

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 The important thing: a massive piece of work... Very interesting, it really draws me in, and it’s very well presented; the sound is brilliant. I must admit that variations aren’t really my favourite genre, but then again, when there’s quality, there’s quality. One thing I particularly liked is that, although some of the variations are very short, the transitions between them are, on the whole, very well executed. That gives it continuity, within the nature of the genre: variation. I’ll just mention a couple of things: One is a matter of personal taste: all those fast sections – vivace, presto, prestissimo, etc. – tire me out a bit. But as I say, that’s subjective. And another thing – this I do find a bit odd. Bars 20 and 24 in the first variation… My ears and brain weren’t prepared for that. Mind you, I’m no stranger to dissonance, but it has to be in context. Those extremely strong minor second dissonances – there aren’t any more powerful ones in the entire consonant tonal environment – sound like a mistake. If they’d been set up, if they were repeated… but like this, so suddenly and in isolation… You could have used other, more subtle dissonances here and there… Yes, we sometimes think that in music ‘anything goes’, but well, in moderation. Later on there are sections that include dissonances, but they’re well contextualised. Congratulations on your work.

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

Of course, it was a treat! In my opinion, I think in terms of creating motion, it makes more sense to try simple things. Pulsing eighth notes or quarter notes. In terms of orchestration, creating effects of sustain or replicating the piano sustain pedal is a good goal to try. I don't have source material now off the top of my head, however, I may reply back tomorrow (for me) with some sources. Using French horn or trombone to hold sustain notes around Middle C and another instrument to pulse the same pitches on any note duration is a simple way to create the illusion. If not the brass, doing so in the strings is another way. Lastly, to not over complicate my words, keep it simple. If you have the melody sustaining, have the accompaniment move. If the melody is moving, pull the accompaniment back.