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Hey, guys! I just finished work on the first movement of a new sonata, this time for oboe and piano; it was a quick two days. I was first planning a piano sonata, but I shifted my mind over to a duet like this instead, a form in which I enjoy writing the most. The sonata, I plan, will have three movements, and this is only the first. It has several main key areas/significant harmonies, and all of them are in mm. 30- 31. This is a piece with a story-without-words, with many motifs depicting the motions and movements of the eponymous frogs and of flowing and dripping water. While much of the music could have been conceived of in 6/8, the music finally transforms starting in the frog dance at m. 156, wherein first the meter changes into the easiest conceptualization of the original music, then it shifts from duple into triple (i.e. the oboe's introductory line), and finally back into compound duple as its final transformation, all the while taming the bombastic eccentricity of the previous material, as well as the shifting harmonic language and chromaticism. Let me know what you think! P.S. The type-facing is elementary and it will be adjusted in the final drafting process, when the following movements are done.

True to the title, this is the first time I have really attempted to make a symphony. I'm not sure if it really is a symphony; if it is, it's a highly unusual one, but it does have about three movements including a scherzo. The instruments are, in no particular order (I didn't think to put them in concert order): Marimba, Acoustic Bass, Piano, Jazz Guitar, Vibraphone, Celesta, Strings, Cabasa, and Crash Cymbals. The piece lasts about 9 minutes and 40 seconds, and was written in Musescore 2 using the Compifont soundfont. I worked on it on and off for the past 2 weeks. The entire piece is of original composition, unless I somehow copied existing melodies without realizing it. In the mp3, there are popping sounds that I believe are caused by an issue with Musescore and the guitars. The first movement is on the slow side, and transitions into the second movement which is the scherzo. The scherzo ends without transitioning into the third movement. The third movement is more or less the first movement, but in reverse. I didn't know how I wanted the third movement to go, but I did know I wanted to see how everything sounded in reverse. I went to a website that reverses midi files. The website kind of messed up some of the lengths of the notes, but that sounded interesting to me. I took what sounded the best, added some more things, and made the third movement. I also drew a little logo on my phone to go along with it, since I also posted the piece on YouTube. https://www.youtube.com/watch?v=5cCfkm8Jsf0

Hello Dear Friends, I'm posting my new song and looking forward to hearing your comments. I call it snowfall as snow sometimes falls harshly sometimes falls smoothly. I hope you enjoy it. https://www.youtube.com/watch?v=Q-qx5moxB8g&feature=youtu.be

Hello Friends, I finished a new piece yesterday. I'd like to hear from you about it. Best regards Elara.mp3

Hi. This is my composition for A-level music and I was wondering if anyone could give me a predicted grade and give me any feedback on my work so that I can up my grade. Any feedback would be much appreciated.

My last piano miniature (Haze) was a little short, so I started another one intending on making a longer miniature, but then it turned into a full-blown piece. My tutor remarked that it felt very much like the first movement of a sonatina, and I've never attempted one for piano so I thought I would try. I'll start work on a middle slow movement next!

My second piano composition - just started getting into composing music as a hobby. Inspired by music from the Nier franchise - I tried to capture a similar intensity in this piece (especially when the minor section kicks in in the middle and further developed in the end). Would love to hear your thoughts/criticisms on what to improve etc. Thanks :)

This is a work I've been looking at on and off for a few months now. It began its life as the opening few bars in my head for a week until I wrote them down. I decided that I wanted to try and write a very light-hearted and maybe (hopefully) occasionally humorous piece, while still keeping it interesting and musically varied. It's quite clearly very 'Candide'-inspired, but I tried to take it in my own direction as well. I'm also using this piece for another subject at uni, where I have to write an essay about some aspect of critical practice, and I'm talking about humour in music in general, and what my approach has been towards composing this piece. I'm happy to share the essay once I finish it in a week or two, if anyone would be interested in it! There are still a few notation issues to work out before I can submit it as part of this year's composition portfolio for my degree, such as the pedal lines, but now that the music is basically complete I wanted to share it with people anyway. I've also got a soundcloud link if people prefer that player - https://soundcloud.com/fotytoo/serious-music-for-violin-and-piano/s-Howou.

Here I have a short piano piece that I have termed as a 'pastel,' a term I find to fit well (especially with the heavy sustain and blending used throughout). I have had a particularly difficult time composing solo piano music; and, for this project, I recorded myself improvising. I was happy with the end product, so I transcribed the piece from the audio. Before recording, I had a general idea that I wanted to depict a color, so, to begin, I merely envisioned the color blue, and I played. Like my recent projects, I found a painting by Georgia O'Keeffe -- "Blue, Black, and Grey" (included in the score) -- that I think matches the music well, and that I feel coincides well with my original thought process. Being improvised, it is very much reminiscent of "stream-of-consciousness;" though, while I played I attempted, at least, to follow different melodic, harmonic, and otherwise motivic fragments in mind. Nonetheless, I am interested to hear your thoughts on a relatively unformed area of my compositions. The audio I included is my improvised session, from where the audio was transcribed, and I wanted (as well as I could) to preserve the liberative quality by use of abundant time signature changes, which almost add a moment of pause for the performer (as though they were composing themselves). My ultimate goal is to complete a set of similar pieces, all on my perceptions of different colors.

I've done another piano miniature - I'm still trying to do one every week or two. This one is pretty light and playful again.

This is my first time I completely write a experimental piano. It's not beautiful, hard to listen but when play it, I shivering, i think i can see some soul around me. i cant explain this feeling. Thank you for listening

Hello. As the title says, this is the first movement of my first Piano Sonata in B-flat Major. Although it is just the first movement, I consider it to be the first complete piece made by me. All feedback is welcome. Thank you in advance. And a simple analysis of it: The Exposition begins an Alberti bass in the key of B-flat minor, responsible for a contrast with the B-flat major melody. It is followed by the first subject (A1) from bar 3 to the beginning of bar 5. After a brief quarter-note pause, a variation of this subject makes a transition to the second subject (A2), which goes through bars 7-10 and then repeats itself from bar 11-13. It should be noted that there is a variation of it in bar 12, followed by a transition, as it is in the first subject. After the transition, the closing section is made of G’s interrupted by pauses and followed by an ascending sequence of A, B-flat and C. This small motif serves both as a transition to the transition (yes), and as a normal transition to the dominant. The transition (to the dominant) (bars 18-22) modulates firstly to C, then to E-flat Natural minor, to finally arrive in the parallel of the dominant key of F Minor. It should be noted that, the whole transition, which has 4 entire bars, is made entirely of a repeating sequence derived from the transition to the transition. Which shows the astonishingly amazing creativity of the composer*. In bar 24, we have our first dominant chord, followed by a descending sequence of notes, until we arrive in the third subject (B), which repeats itself. This third subject, in contrast to the other two, is not accompanied by an Alberti bass, but rather by chords, of which evokes a melancholic mood, another difference in it from the other two. It may sound rather generic for the avid listeners of film scores, of which the piano themes are always in this mood, but one should know that this comes from the composer’s heart and he has no intent of changing it for now. Immediately after the repetition of the third subject, the Development begins, still the dominant, with the returning of the Alberti bass in bar 31. The fourth subject (C), which is exclusive of the Development, modulates from F minor (parallel of the dominant) to an interchange between A minor and F minor, and creates variations of itself, while it keeps tightening until we arrive in an A minor V7 chord, of which ends the Development. In the Recapitulation, the Alberti bass comes back in B-flat minor, but this time in octaves (Bb2 and Bb3; F3 and F4, et cetera). Now both tonic subjects lose their flats, making them slightly different, not much to usual listener. The transition to the third subject is now made of two bars. The chords after it, including the descending sequence, are now without flats. The third subject, now in the tonic, loses most of its melancholic mood, and gains a more hopeful one. After it’s repetition, the Coda theme (bars 70-75) is made of a small motif from the third subject, which goes until the end, with a perfect cadence. *sarcasm.

10 minute sketch of the snowfall that happened here last night.

I'm witting a series of nocturnes, the first two:

I am writing music for our school. We are participating in the Grampian's Children's Book Awards and my group have asked me to write some music. This is just the first draft, any criticisms welcome!

First time posting in the incomplete section. I had the thought of making a hip hop-type piece with two pianos and two violins for a possible future comic idea (doubling as a character theme). It's about half or a third of the final length of the music, so there are a few concerns before I add new material. - This is the first time I've tried theme and variation as a form, though I treated the first few instances of the theme as accompaniment/bass; any advice or pitfalls to avoid? - Any points where the dissonance and chromaticism is either awkward or too much? - Are there instances of voice crossing that sound muddy? - This is more audio mixing than composition, but are certain instruments (especially the bass) unbalanced? The speakers I have aren't the best quality, and my room is too small and untreated for accurate self-judgement of audio playback. Also, I want to know what others would describe the mood of the track as, and maybe suggestions for possible ways to continue it.

First post here, this is an orchestra work I did a while back as an ode to Virginia (My home state) it takes you through various regions of the state such as the Tidewater, the Appalachians, the Blue Ridge, and the Shenandoah valley. I was inspired to write this when hearing the intro for Appalachian Spring by Copland. I remember our teacher saying it was meant to capture a morning in the Appalachian Mountains (where my family is from), and thinking to myself that Copland nailed it, but I wanted a piece that would do the same for the whole of Virignia (Or at least parts of it). I sought to emulate this in the beginning of the piece. The piece concludes with my take on Oh, Shenandoah. A river that rolls through Virginia which I spent many summers on. Let me know what you think, and yes I know the score is horribly engraved.

Here's my piece for the youngcomposers Theory 302 course. https://www.youtube.com/watch?v=IzIBSqp3U1U

Hi guys, just released a raw edit of my new epic piece Emotude III for Piano & Orchestra, hope you enjoy. https://www.youtube.com/watch?v=awF9bZ2HpFA&feature=youtu.be Many thanks.

Hey! I'm back with another piano piece. The original idea was the loss of a loved one. Please, share it with your friends if you like it. :) https://soundcloud.com/j-r-mie-lhomme/impromptu-in-f-minor-well-meet-again Have a great day! Jérémie Lhomme

Hey! It's a pretty short improvisation but I hope you will get a kick out of it anyway. ;) https://youtu.be/zZMdt0NM6iA Have a good day! Thank you for watching! :)

I’m thirteen and an aspie check out my waltz couldn’t upload sound via my medium so I had to upload just sheet music.

hi, I'm new here in this forum and that's my first publish here. This piece is called "Take it Easy ". it's electronic chill music with piano and saxophone. Tell me what do you think!

Hello guys! So for most of my life i've sat down at pianos and improvised. A couple years ago I got a phone and started to record these sessions. I've never really publicly "published" these recordings, but since my parents and musical friends say I should, here's one! This is one of my more recent sessions... I record anywhere from 1-3 a day! I only started taking piano lessons last year so my technique is super primitive Any advice for me as an improviser? Are these any good?

Hi everyone!!! This was one of my first works i 've done in the past few years and i would be very very glad to share it with you There are two parts: the first one, from 00:00 sec to 03:44 sec & the second part from 03:44 sec to the end of this track. This part (the second) took me over 3 months to find the right notes of this -orchestral strings- melodic uplift. This music includes Chorals, vocals, orchestral strings, piano and xylophones. Thank you for listening! -Ampnoe's-