Kvothe

That makes more sense! Thank you for the insight

HI there, I would like to have score this quartet so I can give my feedback. Kvothe

I truly wish we could have score: that way, we can admire the textures you are using in this composition. I love the lush strings in the opening that leads into piano solo. It is so beautiful. The brass choir is just like: now it is our turn to shine. But not before organ section? Amazing...

Ah...why didn't say so? If you are writing in 20th century idiom of Philp cage and others, then I see no issue here. I am sorry.

Hi there! This piano piece is rather delightful. I love how charmful it is. However, in m. 6, the parallel octaves throw off the charming. In two part counterpoint, you normally want to avoid that. You should try mixing imperfect consances with perfect ones. I notice a lot parallel 3rds and 8ths through the piece. I recommend species counterpoint carefully and maybe reading through counterpoint book. There are a lot members on here who can help you.

Hello everyone To warm up my warm my composition skills, I will be going counterpoint (species and such). You help will greatly apppericate. Below is first species

A score would help us. May we please have it.

May please have a pdf copy of score.

That is excellent idea: I was wondering what to happen to YC competitions. I remember those. 🙂

As Tristan mentioned, the tempo is slower than presto. When Chopin wrote his, he rarely used a tempo marking. The engraver added them later; or it was up to performer. So my suggestion would be is: have a pianist play through and then ask for feedback from them. Ask him or her, what tempo should you mark and other feedback. I notice the notation error. You are using a hemolia: a doted quarter followed by three 8ths grouped together. do not that. It makes it appear you are in 6/8 and not in 3/4.

Have there been any suggestions for 2025

You are welcome. As a composer, it is important to know what influences us. Chopin is another great early to mid romantic composer. I recommend listening and studying his works. 🙂 But be prepared to dive deeper into chromaticism.

As Bhko mentioned, I, truly, feel that you capture Schuman and Schubert in this solo work. Both were excellent piano writers at their time. They knew how to use the piano as character and as instrument. Here, you have illustrated that. Many do not know that piano isn't just instrument. I love the 3 against 2. It creates lovely cross rhythm. The subtle chromatism, which colors the theme, is always nice to hear. 🙂 Over all...kudos

Thank so much for replying back with score. That is truly helpful when it comes feedback. Let me start with positive(s): 1. I love the delicate, simple theme and how it is phrase. It flows rather nicely from measure to the next. Well done. 2. The under laying harmonic language is well done, too. No issue there. Now let us move to areas of improvement: 1. I notice you only have horn in f playing 3 notes! Horns can never do this! There are monophonic instrument. You will need 3 players reading that part then mark it a3. But that is not standard. Your score resembles a small size orchestra. So only one with one player. 🙂 2. This brings me to where can the foreground be placed. Best place: the strings. There are loudest in this group. You can 1st carry the melody. a 3. Background: Use the strings (marked at pizz.) at a mp and match bass left hand of piano sketch. Viola, cello, Bass. 4. Doubling parts: Add Basson to double bass part in part in strings. Second violin can double the first. the upper woods can provide harmonic support with horn player. 🙂

Why hello there, I thoroughly enjoyed listened to your waltz. Alas, without the score, I cannot give in depth analysis of it.