Roberto

Have to agree with mr cmajorchord the esotericism in this peice makes it rather obscure. A folk melody is usually something easy to follow on and join in (hence the reason for the name). I can't imagine it would be easy to follow on or dance to with a rhythm of 5/8, but i guess theres always a level of cultural difference that I and others might not be accostomed to... Anyway I was impressed with the notation.

Its a good piece. I was immediately impressed by the textures (even thought the midi might not accurately portray the actual notation itself) Good work :thumbsup:

Well I don't know what you're so afraid of miss, but this is fine work. I'd agree adding more instrumentation will give it a more dramatic effect. I'm no orchestrator but if people tell you u're a cliche just take the time to listen to some of the work on here and u'll realise alot if it is just reconstituted stuff. A kind of subconscious, deceptive, compositional reportoire that masquarades as ones original work merely because it makes the composer feel good. Well enough of my rant. Just keep going I guess.

Hey, good stuff. Theres some reasonable modulation in this piece and its definitely a usefull start to a song of some sort. Hell I'd probably print it out and improvise on it. Wondering why u called it oath... If anything you might want to make an oath to explore the compositional soundscape in your mind a bit more...just a thought...

Thats a pretty harsh review... Anyway beginning I thought to myself, ok we've got a Phillip glass sort of minimalistic piece using more impressionistic sort of devices. I liked it. The transition in bars 34 to 45 was excellent. In terms of rests and tension release I agree that during the transitions it might work, but again because it also had an impressionistic mood; conveying a season, it isn't necessarily conducive with what you- the composer- is trying to create. Besides minimalistic music usually relies on subtle transitions using variations in the notation, rather than a full on release/rest because its supposed to induce a kind of meditative trance like mood. Anyway it was good.

Good stuff man. ummm I guess you could call it a ballad. Modulation is pretty good, from to d minor. If you want something more dramatic modulate to something like C sharp minor, or a relative major. That would be really impressive. You could even expand this cos its got a strong thematic line, like into a concerto or something. Also because it has a principle recurring theme and contrasting phrases it could be classified as a "Rondo" for piano... In any case very fine piano writing you've got here. :D

Experimental quartet I wrote a while ago based on a work written by Gion De Machaut. It has strange rhythmic variations and is supposed to convey the conflicting emotions of being on the edge. machaut_1_43_32.mid

Ok ppl another piece i did a while ago.. Technique: Ostinato pattern, even monotonous kind of rhythm except for the change toward the coda.. Obstacles: Nothing really. Maybe just the variation in the ostinato pattern and incorporating trills. Conclusion: If you don't want a drug induced good nights sleep just have a listen... nocturne_no.1.mid

This is actually some really inspirational stuff. Not the most cohesive piece but I really love these chord progressions. I'm going to use them in a piece possibly. Don't worry I won't rip you off :happy: Isn't Rubato a lovely thing! Good stuff.

lol exemos if I could get the same sort of consolation using that logic when it comes to my music i'd be much happier.... Critique: Obviously toying around with some sort of minimalistic devices. Theme is good, if you want to improve it more nuanced transitions might be a start.... Ok i probably won't point this out again and maybe i shouldn't cos its really obvious yet ppl keep making the mistake. It is only classified as a "song" if it has words. Otherwise its called a piece. :happy: p.s. whose chloe she sounds hot! is her second name smith by any chance?

Ugly piece with no melody.?lol. You should have told him that unlike the world of film and literature there is really a global lack of good musical reviewers in the world. The piece, with its strange chord progressions, was based more on producing sound colour rather than a melodic line. Any idiot with half a brain could see that... I'd say that the combination of high Romantic Chopinesque progressions (if I'm not wrong I think you got the opening chords from nocturne in C#min-) coupled with quite a resonant unique timbre (the latter being more of a derivative of impressionistic music) is really striking. People usually say oh yeh ofcourse you need a strong melodic line, but thats just another way of saying you don't need to aim higher and have a composite of different elements working together. You have the basis for something much greater in this concerto. The thing is its the singular arpeggiated stuff that made the piece lack substance. I can't orchestrate for scraggy though but yeh... Overall I thought the piece conveyed a very strong sense of alienation ... Anyhoo I looked at your website and I think you're really weird. Its good though I like you're odd sense of humour. I wanna see you're big far out pieces posted asap! . Could you post them in midi format as well though I have been getting alot of scraggy from my folks about exceeding the download limit... People on here don't seem to realise that midi might sacrifice sound quality but advocating for better quality costs alot...

Yes yes i'll admit, I never learnt anything about violin or its register or the affect tuning has on compositional practice. I will either alter the piece or just keep it as a mental note for next time. Thanks anyways.

Here is a piece that I started a while ago and only returned to it when I felt like I could be bothered and had some more motivic ideas. Composition technique: I mainly incorporated arpeggiated structures and the thematic material itself does not have a very strong relationship to the composition as a whole.It is in ABACAD format. It might seem a bit repetitive though. In the later passages a higher degree of chromatic harmony was utilised. It enriched the piece I think but the relationships with the rest of the passages isn't as strong as I'd like... Style As usual with the compositions I do I try to incorporate many different styles. I suppose you could probably classify this piece as late romantic, but the B section kind of reminded me of schubert which is early romantic. Its a bit of a mix in this case. The later passages i.e. C and D have more of an impressionistic influence. Obstacles: Actually finishing it. I don't even consider this finished. :D Anyway It was mainly the transitions which I think are a bit weak and how to make them smoother. My aesthetic sensibilities like many people attempting composition change with my fluctuating moods. This also posed a problem in creating this piece. Conclusion: I'm reasonably happy with the piece. It did reflect my violent moods at the time and the end sort of reflects a resolve I have found in myself which is quite soothing... pianoviolinduet1.2.mid

Ok maybe this will prove to be a good theory lesson because this has never been my forte. Isn't the leading (the seventh tone or degree of a scale that is a half tone below the tonic).. So the leading tone of the D major sonority is a C# not a C natural? If it is then the B, in the context of the root being G major is justified? Even if we look at it as a dominant seventh the seventh is always three semitones above the fifth. So how do you come to C natural being the leading tone to the D major sonority... It is just the seventh of the D major sonority. Just a thought...

Good piece. At the beggining I got this sense of forboding and thought you were alluding to Chopin's wind Study. Have to agree its an unusual mix of chromaticism. At about bar 14 it kind of diverged off from the lyricism of the piece. I think you could incorporate the original material at the start into those particular passages. But otherwise good work.