TristanTheTristan

Update! Ondine and Scarbo by M. Ravel Sonatas No. 1-3, Op. 2 Variations, and Op. 25 No.6, Op. 10 No. 1 and No.2 by F. Chopin Hammerklavier, Appasionata, and Waldstein Sonatas and Piano Concerto in C Minor by L. V. Beethoven Transcendental Etudes 1-5, 8, 9, and 12 by F. Liszt Etudes Op. 39 by C. V. Alkan Goldberg Variations by J. S. Bach And, Lastly, Trockne Blumen (Introduction and Variations) and Wanderers Fantasy by F. Schubert

Sorry, Ignore the previous post. It is too messy. Hi There! Welcome to YC! Anyways, I can clearly hear from the start of what tone you want it to be like. I favor that part from measures 49-76. It generally gives a Coda feeling. You might be wondering: @TristanTheTristan, why didn't you just write from bars 49-the end? That is because, you had outlying part at the end for piano solo, which doesn't feel like it was needed. I will be analysing most bars by themselves here. Interesting, slightly prokofiev-like ideas. Is intended to sound very slightly off-beat by the end? The following is quite a smart idea that plays with syncopation. Nice! (Harp) No. Rename it to just 'Piano (Right hand)'. It is not grand at all. It barely plays anything at all. It usually plays a note and then rests. Other times it is just playing eighths. You are not using the bass either, so rename Piano (Right Hand). Also notice that you are using the simplest chords possible at most times. I, IV, V, not even using the relative minor which would be VI. I listened through the full 3 minutes and whatever something seconds and I didn't find a hint of other chords. You should study pieces like Fantasie Impromptu by Frederyk Chopin Op. Posth. 66, by NOT LISTEN TO IT AND ENJOY IT, but instead study the chords he has used. Study Gaspard de Le Nuit's Ondine by Maurice Ravel M.55 in the same way. Apatite is supposed to be glowing-like. This feels too straight-forward. Music isn't like that. In musical composition you use your brain to find ways to describe it. It is just like the technique in lingual-writing: Show don't tell. You are telling. Good composers show. If you tell it, it might be a lie, but if you show it, you couldn't be lying. Listen, you know what, here is something: on discord I am friends with Meliton Soupelin; you probably know about him. At the start of my composition journey, he has given me great advice. Exactly the following: "Also, if you are at the start of your composition journey, I strongly warn against trying to compose large pieces. Start with small pieces and work your way up with progressively larger pieces only when you are satisfied with the results of the smaller compositions.Your quality of work will substantially increase. I used to compose like you when I was younger. I forced myself into studying my favorite pieces and trying to understand each technique the composers used, and apply them myself. I did not merely pay attention to melody and technique, but also harmony and structure. It was a humbling but very reward experience.That is my only advice. Few people have the bravery to take it. They usually get mad and leave in a huff. But the ones who did follow my advice have made significant improvements as composers." -Meliton Soupelin. I took his advice of forcing myself into studing my favourite pieces and composers and their techniques and everything. I studied Polonaise Fantasie for hours. Then, I continued with the next piece, and then the next. As he said, it DOES in fact take much effort, but worth it. I now see, that he was correct all the way, and I am glad I took his advice. Even now I am using this technique, and as a composer I have wrote much better pieces than before. I wish you listen to my advice. Have a nice compositional life. Remember, Every composer goes through different things. You don't have to take my advice if you don't want to. It is your choice whether you want to regret it or not. Bye. -TristanTheTristan 03/11/2025

Hi There! Welcome to YC! Anyways, I can clearly hear from the start of what tone you want it to be like. I favor that part from measures 49-76. It generally gives a Coda feeling. You might be wondering: @TristanTheTristan, why didn't you just write from bars 49-the end? That is because, you had outlying part at the end for piano solo, which doesn't feel like it was needed. I will be analysing most bars by themselves here. Interesting, slightly prokofiev-like ideas. Is intended to sound very slightly off-beat by the end? The following is quite a smart idea that plays with syncopation. Nice! (Harp) No. Rename it to just 'Piano (Right hand)'. It is not grand at all. It barely plays anything at all. It usually plays a note and then rests. Other times it is just playing eighths. You are not using the bass either, so rename Piano (Right Hand). Also notice that you are using the simplest chords possible at most times. I, IV, V, not even using the relative minor which would be VI. I listened through the full 3 minutes and whatever something seconds and I didn't find a hint of other chords. You should study pieces like Fantasie Impromptu by Frederyk Chopin Op. Posth. 66, by NOT LISTEN TO IT AND ENJOY IT, but instead study the chords he has used. Study Gaspard de Le Nuit's Ondine by Maurice Ravel M.55 in the same way. Apatite is supposed to be glowing-like. This feels too straight-forward. Music isn't like that. In musical composition you use your brain to find ways to describe it. It is just like the technique in lingual-writing: Show don't tell. You are telling. Good composers show. If you tell it, it might be a lie, but if you show it, you couldn't be lying. Listen, you know what, here is something: on discord I am friends with Meliton Soupelin; you probably know about him. At the start of my composition journey, he has given me great advice. Exactly the following: "Also, if you are at the start of your composition journey, I strongly warn against trying to compose large pieces. Start with small pieces and work your way up with progressively larger pieces only when you are satisfied with the results of the smaller compositions.Your quality of work will substantially increase. I used to compose like you when I was younger. I forced myself into studying my favorite pieces and trying to understand each technique the composers used, and apply them myself. I did not merely pay attention to melody and technique, but also harmony and structure. It was a humbling but very reward experience.That is my only advice. Few people have the bravery to take it. They usually get mad and leave in a huff. But the ones who did follow my advice have made significant improvements as composers." -Meliton Soupelin. I took his advice of forcing myself into studing my favourite pieces and composers and their techniques and everything. I studied Polonaise Fantasie for hours. Then, I continued with the next piece, and then the next. As he said, it DOES in fact take much effort, but worth it. I now see, that he was correct all the way, and I am glad I took his advice. Even now I am using this technique, and as a composer I have wrote much better pieces than before. I wish you listen to my advice. Have a nice compositional life. Remember, Every composer goes through different things. You don't have to take my advice if you don't want to. It is your choice whether you want to regret it or not. Bye. -TristanTheTristan 03/11/2025

Can someone please review this? Thx!

Nice piece! Do you have the sheet music so that I can review?

Do you have the sheet music? 有谱吗？

Oh, wait, actually, can you put me after ones' own name, after the sentence please? That is because I have also given feedback to myself... (Just a joke again, but you can take it seriously...)

Can you also please put me and Kvothe at the top after @chopin, like the following? "@Omicronrg9, @Wieland Handke, @Henry Ng Tsz Kiu, @chopin, @TristanTheTristan @Kvothe and myself @PeterthePapercomPoser have reviewed all the entries (minus their own) and will receive the "Ardent Reviewer" badge!" Thank you!

And... I am done! Thank you and good job to everyone who has joined the competition! I am looking forward for the Christmas Competition!

Do you want to take some maths lessons from me? PLEASE............................................................ Anyways, to my scorings: Melodies Themes Motives Harmony Chords Textures Form Development Structure Time Originality Creativity Score Presentation Instrumentation Orchestration Playability Execution of Given Challenge Taste 7 7 8 7 10 9 7 8 Average: 7.875 Average

Melodies Themes Motives Harmony Chords Textures Form Development Structure Time Originality Creativity Score Presentation Instrumentation Orchestration Playability Execution of Given Challenge Taste 10 9 6.5 9.5 7.5 7.5 8 7.5 Nice! Very good. Average: 8.1875 Above Average

Melodies Themes Motives Harmony Chords Textures Form Development Structure Time Originality Creativity Score Presentation Instrumentation Orchestration Playability Execution of Given Challenge Taste 8 9 9 10 7 0 6 6 DO YOU HAVE 10 FINGERS ON YOUR RIGHT HAND? AND WHAT IS YOUR HANDSPAN? WHERE ARE YOU FROM TO CALL THIS A NATIONAL DANCE?!?!?!!?!?!?!?!?!?!!?!?!?!??!!?!?!?!?!?!?!?!?!?!?!?!?!?!? ANyWaYs,,,,,,,,,,,,,,,,,,,,,,,,, AveRaGE: 6.875 And also I think I got brain damage, so maybe 6.5.

Melodies Themes Motives Harmony Chords Textures Form Development Structure Time Originality Creativity Score Presentation Instrumentation Orchestration Playability Execution of Given Challenge Taste 8 8 6.5 9.5 10 8.5 9 9 Average: 8.5625 Above Average

Melodies Themes Motives Harmony Chords Textures Form Development Structure Time Originality Creativity Score Presentation Instrumentation Orchestration Playability Execution of Given Challenge Taste 7.5 6.5 8 8.5 10 (nice!) 6.5 7 8 Average: 7.75 Average

Melodies Themes Motives Harmony Chords Textures Form Development Structure Time Originality Creativity Score Presentation Instrumentation Orchestration Playability Execution of Given Challenge Taste 8.5 7 6.5 8 7.5 7 6 5 Average: 6.9375 Below Average