Gabriel Carlisle

Hello, I recently finished a piece, Introduction and Waltz, and am wondering if the score is MOLA ready. I'm submitting to a competition thats due on the 10th (parts are not required til a later date). Thanks a lot and feel free to also listen and give feedback!

Recently decided to make a symphony after being inspired by tchaikovsky shostakovich and many others. I have begun work on the first two movements and would like some feedback on them so far. Im aware much of the notation is wrong. Im still just sketching things out. II. Adagio minaccioso - Allegro con rabbia.mp3

Yes i have many ballet ideas up my sleeve and this one is four acts long...anyways its not the same as the others and is therefore on its own ballet. Enjoy the piece I wrote for simple variation (solo dance). I'd like any feedback if at all possible! Thanks so much! No. 7, Pas de six - III. Variation II (Adagio).mp3

He’s referring to a2 which means both oboe players 1 and 2 are playing the same thing written. BTW a1 is not a term. Divisi is not a term for woodwinds either. Solo is a better use for solo or putting it by splitting the staff would work better for either oboe 1 or 2. Or just writing for the entrance “Ob. 1” or “Ob. 2” above the staff. Also I’d recommend adding slurs for the instruments. This can tell them when to perform legato and to smoothly connect the notes or perform a run.

mainly the orchestration is what im concerned about. It sounds great to me but what about some more experienced ears? Any tips would be great! I feel i've made so much progress lately in composing! The last few bars arent composed all the way yet.

Thanks so much for your reply! I would like to mention that this piece is not complete so that’s why many things seem incomplete. This is more so the sketch/preview and not the final product. This is why the orchestration Isn’t the best. The reason some areas have better orchestration than others is to present ideas that popped into my head at the moment of the area being composed. Thanks again!

I agree. Although I feel unsure how to not make it’s so repetitive since its form is supposed to be ABA CD ABA. I actually didn’t repeat the C section from the Trio because I felt it’d be overbearing but I guess the more problematic lines were instead the very beginning themes I used over and over. Perhaps I should do a more ABA CD-(transition)Av2(Av2 meaning the last repetition where it starts in D Minor then moves back to E Minor before changing to E Major in the coda.

The video seems to be private. If you could make it public I’d love to hear it!

Hey! I recently got some inspiration to write a symphonic scherzo. I want to continue doing this to make an entire symphony but wanted some feedback on the overall sketch of the scherzo first. Let me know your thoughts! The Score is not at all super accurate but more so what I used to get the sounds I wanted from Musescore. Lol for fun: Inspirations include Dvorak, Saint Saens, Tchaikovsky, and Grieg. Symphony No. 1 in A Minor, III. Scherzo. Presto con fuoco.pdf

heres a little piece im working to get recorded. Is the sheet music correct for the tempo fluctuations? Let me know any issues and so on. Thanks. Adagio for Flute and Piano, Op. 2.mp3 Adagio for Flute and Piano, Op. 2.pdf

Study his works very closely and carefully. Then try and mimic it but not an exact mimic. I’d suggest going to IMSLP and downloading and printing your favorite works or pieces then print them out and staple each one together. Then study all that you love about it. What are the chords? What is the melody doing? What techniques are being used that you don’t understand? What do you not understand? Does modulation occur here? etc… this will take a lot of time but also makes it really drill into your head what makes Mozarts music Mozart. Anyways hope this helps! -Gabriel Carlisle

Depends if your after a more modern taste or traditional taste. I normally name mine with traditional names then a subtitle sometimes. For example for one of the pieces I’m working on right now is called: Symphonic Miniature No. 3 in B Minor “Winter Storm” Or sometimes a much larger work has the name while the individual pieces have traditional names. This is another work I’m also working on: “Nocturnes pour le Romantique“ Nocturne No. 1 in E Major Nocturne No. 2 in C# Minor Nocturne No. 3 in A flat Major anyways hope this helps! Also I agree with Henry that finishing your piece first then naming is best unless it’s within a much larger structure. Hope it all goes well 🙂 -Gabriel Carlisle

Currently finishing this up any tips or anything concerning the score itself or any other tips? Thanks and Enjoy! 09 Winter's Passing - Ballet in One Act, Op. 1_ IX. Dance of the Little Snowflakes (Moderato).mp3

I fixed the following myself: turned quarter notes at the end of piece to whole notes to fit fermata. removed random notes on the score. removed 1st bar (this bar was there so the audio wouldn’t glitch when I was creating the track)

06 Winter's Passing - Ballet in One Act, Op. 1, VI. Coda (Allegro).mp3 continuing with my ballet scoring. Heres a coda that happens in it. Lemme know if its good! I really need notation tips and orchestration if possible! I also just realized I left my notes on the score. Silly me. Winter's Passing, VI. Coda.pdf