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Thanks for listening luderart, glad you enjoyed it :) Hey Kvothe, thanks for listening! Regarding your point #1, yeah you're correct, it was more for playback. @Henry Ng Tsz Kiu was kind enough to record it, I could just write con pedale or something now 🙂

Hello Have you heard of this virtual instrument called CANTAI? Please note: I have no affiliation with these programmes, even though I use them. https://cantai.app/ It’s a virtual instrument for voices and choirs. It works with MuseScore (which is more advanced), Dorico (the official version was released a couple of days ago) and Sibelius. The novelty is that you write the score, add the parts (soprano, alto, tenor, bass, choir) and write the lyrics... And once everything is set up, the result is that it ‘sings’. I use it with Dorico. It still needs improving, because although it interprets dynamics and accents, and there are many voices available, there will be more. At the moment, in Dorico you can write in English and Latin. But Chinese and Spanish are already available in MuseScore (I think). I’ve written this little sample song to see how it works.

Hey Vince, It’s a long time since I review anything so here’s the first one! (I’m still going on with the hiatus though since I’m revising my Clarinet Quintet, listening orchestral music and will write the Orchestral Variations on Peter’s theme tho.) I like how you combine the dreamy dissonance with counterpoint technique here. I love b.3 of the subjects as it’s already containing two voices in a line and it kinds of reminds me the sighing motive of the Kyrie subject of Bach’s Mass in B minor. Motivically you make use of all the motives from the subject for coherence and economy in episodes which of course come from Bach! My favourite spot of the piece comes in the D flat major passage, it definitely is your voice there, I love your harmony! Also, only by analysing in order to play your fugue did I notice a sneaky quasi subject augmentation in b.28 so I bring it out myself. I also love the ending myself, as it’s in F sharp minor which sadness kinds of reminds me my own F sharp minor fugue in the Sextet =.= I don’t follow all the pedals and dynamic instruction you tediously write, sorry for that 🤪, for example I add pedals in b.33 to make it more dreamy, b. 29 I probably played forte instead of mp since I thought I fell the passion there, etc. Only one thing I would suggest on the scoring is that, I would use the same beam direction for a voice especially for subject entry. For example I would use an upward beam for the first F# in b.5 to indicate the subject, and turns the A and G# into a downward beam. In b.14 I would turn the D downward and C# upward, since it is the C# that’s in the subject, not D. But these are just nitpickies. It’s fun to play this, and thx for sharing this! Henry

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

Hi there @interlect. Thanks for us the score for this for this submission. Here's my review: When you have string parts, make sure you label them with correct names: violin 1, 2, viola, cello, etc. I am sure the samples you are using in the DAW have those names, too. When the DAW produces a score, the notation can be wonky. However, that does not mean you can clean it up. You are the composer! It is you job to make sure the score is readable, too. Remember: if music can be always performed live, if there is opportunity to. Thus, why not make sure you are ready? Fun fact: Film music has reached the concert setting now. Kvothe.

HI there @interlect, The production of the track is swell; and it can I hear the influence of Bob Marley. But, I would like to see parts and score to give more in depth review. That would be great. Thanks. Kvothe.

Thank you for your kind comments! You are not the first one who recall Bartok while listening my works - I guess it is because of the crude dissonance. I mainly write on computer as it gives me immediate playback which makes my writing more convenient. It is important the method of writing follows the speed my idea comes! haha. It also make the engraving easier. Here is the full set of my Symphony No.1: Symphony No.1 - First Movement - Orchestral and Large Ensemble - Young Composers Music Forum Symphony No.1 - Second Movement - Orchestral and Large Ensemble - Young Composers Music Forum Symphony No.1 - Finale - Orchestral and Large Ensemble - Young Composers Music Forum

You are one step closer, my friend @Bjarke Now let us talk about articulation markings. I notice in the left hand you have every note mark with a staccato mark. This is not necessary. There are several options. Option 1: mark one group with staccato then use the expression sim. Option 2: Sempre Staccato Option 3: use the word staccato in the left hand. I think in your case, where you have certain articulation pattern, the first choice would be best the choice for you. I feel b. 95-97 is too repetitive . Do we need to hear the repeat the chord in the RH? (it is too static...) I feel that if you allow that chord to breathe and move it will create more momentum. On the same not. b93 is a repeat of b.92... :)

Several months ago, I posted a piece which was at the time an exercise in sonata allegro form, which I decided to make the third movement of a sonata in d minor. I've had this theme in my head for a while, so I decided it would be the perfect time to use it. I went down a big rabbit hole of nonfunctional modal harmony, which was quite fun but really challenging to work out (though I wrote the secondary theme in five minutes during a chemistry lecture). sonata in d minor movement 1 audio.mp3 sonata in d minor movement 1 score.pdf