i(don't)suckatcomposing

@Hendrik Meniere can I get a MusicXML file? Flat.io is really awful, but this sounds pretty good with a bad soundfont. I'll put it in NotePerformer in Sibelius, and upload the video in this thread.

I see in the score that it is written for 2 oboes, I would like to see it either written for one oboe, or to have more counterpoint between the oboes. Assuming you want a classical/baroque feel, here is my suggestions: *In measure 2 in Violin I & II, they have parallel motion by unison with the oboe. I would try to avoid that by making a counter-melody in the Violins. Same thing happens again in m5, 6, 34-39, and 41. In measure 40, beat 4 you have a perfect 5 going down to a diminished 5th, which I think is acceptable, but even if it is or not, I would like it to resolve, tritones love to resolve. Try to go for even-numbered phrases(preferable 4 or 8), your opening melody is 2 bars long, so use another 2 measure of filler, maybe you can introduce variations of the theme in the filler, or just straight 8th notes, whatever you want. In measure 4 in Violin I & II , you have an interesting voice-swap/cross-voicing, which is unnecessary. It unnecessary because you don't have a melodic reason to cross-voice, and it doesn't change the nature of the chord. *Measure 20 in the oboe, you have a dotted eighth followed another dotted eighth note followed by an eighth note. It should really be a dotted eighth followed by 16th tied to another 8th note followed by 8th note. The way you notated it makes it difficult to read for musicians. You need to work on the cadence at the end, generally you want to end on the i or I or V(I would only use V if you know how to make it sound conclusive). Starting from measure 43 you have this chord progression: v -> VII -> i6 -> i It is a weak final cadence. You want something more like: V V7 i(or I) It is much stronger. The chord changes should really be on the strong beat. Overall, this is a really good attempt. I think you are just starting to compose(am I wrong?), if you are, you are better than when I started. If you weren't going for a classical style, then ignore everything above except for the parts marked with a '*'. I would try to learn about chord progression and voice leading from any music theory site, here is an English one: http://davesmey.com/theory/partwritingrules.pdf I hope this helps.

I think the end would be better if there was a stronger V-i feel(or V7-I). Other than that I can't really give you an analysis of the counterpoint, I'm no master.

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.

Do I get a response? I want to know what you think!

I think for the most part, this is great, I would love to see a more active bass line, bass lines doesn't have to be a harmony part. A good example is the circle of 5th section, Bach does it best, so here is an example from the Brandenburg Concerto 2. skip to 1:50 for the circle of 5ths, or listen to whole thing 🙂 I'm also not sure how I feel about the minor V chord in measure 13 and where it repeats again.

@TortualexSorry for the long wait, School is a drag, Thank god for the extended spring break. Hope you find this version better. I made no changes.

Can I have a MusicXML file? I want to put in Sibelius, Using NotePerformer then post the video in this thread, I think It will sound much better. I like this work a lot. I have been trying to not use the circle of 5ths except in some circumstances, but I think I will compose the begining of my Easter Cantata as a Passigalica.

So what would be an appropriate form for modern music? I don't think the romantic/baroque forms are appropriate, or are they? Many of the pieces I'm playing in my opinion have a form of something like: quiet and atmospheric entrance from percussion -> A solo instrument states the theme -> The rest of the band joins and throws the theme around the sections -> reaching a climax, but it's deceptive because there is still 7 mins left in the piece -> a long, soft, quiet section, very atmospheric -> rest of the band joins in slowly, a few sections at a time -> themes restated, sounds like something you heard earlier but there are noticeable changes to make it different -> now we are reaching a climax, but only 30 secs left -> A really long chord with the theme being stated, with the percussion just smashing everything -> the last note of the piece. I don't know if I can call it a form. maybe: Percussion-Solo-A-Climax-Quiet-A-Climax-Percussion (PSACQACP) I think maybe my form analysis was too detailed and its more like : ABCBA I don't know, is there an appropriate form? or can the form be anything that's logical? But no form is bad?

I think this is a helpful video for this discussion(assuming you haven't seen it already, its pretty popular)

Well yes that's true, but to be atonal there has to be no key signature, right? And obviously not in a mode that makes use of no sharps or flats, so basically use any chord how ever you want.

I used to make new themes in my classical music because I have no form, now I make temporary music with classical form. something is wrong with me or in 100 years from now, people will see this and think this is brilliant use my style.(wishful thinking). Thanks guys! main take away's for me: develop one theme over the entire piece, get loose with the form, have less trombone sound effects, introduce more sounds effects with other instruments, and be atonal(get rid of instrument transposing key signatures).

Just got back from work, its up. happy reading!

I thought that was the point of this style. But I'm no expert.