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@AngelCityOutlaw Here is some music-related Arianna Bailey, that's perhaps her: https://programs.testradio.org/WVYC/pl/12716053/Arianna-Bailey

@Advanced Blowhard I can only guarantee that I haven't hear it during quarantine when I was in Quaranti.

If it is not in some crazy tempo it seems doable to me. It is not comfortable, but if You write Sul G (and maybe allow some little gliz) in the preultimate measure in cello it could work.

It is possible to use broken chords indeed. I didn't mean to question whether it is "somehow playable", but whether within playing is it (or is not) possible to lead phrases throughout the polyphony properly. Because at some points (and especially in that tempo) it seemed to me like there wasn't possibility to do that in order it still sounds good. There is a kind of discusion within "academicians" (but also harpsichordists) whether shall we use historical instruments or modern instruments (and maybe even how modern harpsichords should be like). And I presume, that whereas on historical instrument the elements player would have to do will sound bad, on modern instrument it could be better. And I of course don't see Your deeper intensions in this work and how do You think about the structure of the piece, but in my view it seems that these elements that player shall have to do will cause kind of damage to the polyphony.

That is more of rather a philosophical question to me (because there'd must be solved e. g. problem whether musicality has the piece automathically when composed, or if it's there only when performed, because what is the point of works on their biggest possible theoretical height, when it is impossible to actually hear them performed. Perhaps only by some computer generator, where the actual presence of the musical art is at least to me quite questionable). But here's another though; if You want just to improve the piece (fugue) from the "composers point of view" (like adding some engreatening elements that are unplayable) and keep it somehow playable at the same time it is still possible to simply add more instruments (I reckon there is still no fugue for 12 harpsichords 🙂).

Fair enough. I agree that today this endeavor might be a bit meaningless in some ways. And that music can be seamlessly composed in practically any way. But at least for me is music emotion/other possible stuff expression fundamentally; so personally I wouldn't compose something like this purposely because I don't like it but I respect it and understand, that someone can see it differently. However here at least I think that it is composed in a way that "it could perhaps be played eventually" so here the remarks seemed proper to me.

Thank You for the feedback; it's actually really helpful since I hope that in the future I'll find some violinist to collaborate with and in this case I would definitely rewrite it. But please tell me "imo" means like imotion or is it something else?

Thank You for feedback; I agree that using some of the techniques You suggested would improve the piece, I might rewrite it in future. It is possible, that this much high in violin is for some people quite unpleasing, but here it seemed to me as a kind of characteristic effect of the piece.

It is very nice and pleasant music. However if I hadn't knew it is symphony, I would have rather think it is a movie-music suite.

Hello, I'd like to humbly ask for feedback on my Violin concerto. The piece consists of three short movements. It doesn't have a programme. It's one of my older pieces.

I voted for three options; it let me to do it so I thought it was possible. I am sorry, if I improperly interrupted the survey.

Hello, I don't have much to say about the fugue itself, some disonant chords and transpositions to different keys is for me a bit unusual, but not necesarilly bad. My main remark is, that it is often almost or completely unplayable, good example is measure 24, whre it is physically impossible to stretch hands that much. I don't know how much are You familiar with harpsichord, but the thing here is that You don't have pedals to keep the tone sounding, so if You want the phrase to be going and sounding good and You need there to sustain some longer notes (so it'd "make sence in polyphonical way"), You must write it so the player can hold all keys needed, which here is, in some places, not accomplished. That's why there are often only 3 voices, when writing fugue for harpsichord; write it for four or more is of course possible but really hard to do properly and it is more common in organ playing, where You can use pedals as another voice.

To me it is perfectly readable, however as a player I would maybe prefer sextoplet instead. (PS: I'm not sure if this is proper term in english, however I mean 6:4 hemiola.)

Hello, the piece deffinetely sounds baroque, it reminds me Vivaldi a lot. I have to say that instrumentations is not perfect, but since You're quite limited in this way I don't see a big problem in it and I think that generally it's completely adequate piece for secondary school orchestra and do very nice effect at the concert. I don't think that it should be that repetitive, repetitions are perfectly all right, but then when You go all the way da Capo playing the same think for the third time, it seems to me just a bit too much. I also would do bass line more melodic in some places, so it wouldn't be just repeting the same note but some chords decompositions at least.

https://www.youtube.com/watch?v=XD5WLw2IY7w It is just the very begining of the violin part but You'll see what I mean.