"Unread Letters" - Kyle Hilton (UncleRed99) Seeking feedback for improvement

The idea for this composition was inspired by @MK_Piano, after he sent me some footage of himself improvising in C minor on piano. I asked him if I could write something inspired by what he played, and was graciously allowed to do so.

The piece utilizes a steady quarter note / eighth note moving rhythm and melody that symbolizes the passing of time during, and the emotional feelings felt in periods of contemplation, longing, rumination, and/or sorrowful reflection.

Although, I feel as though it may be a bit too repetative, despite having variation in both rhythm, chord voicing, chord progression choice, including a modulation towards the end. I'm seeking to build upon the ideas I have in this score, more effectively. Any suggestions are welcome :)

**UPDATE**

Score Files updated to reflect any/all decided changes, based upon suggestions within this thread. 6/23/26 1:25pm EST

Unread Letters.pdf

Edited 15 hours ago15 hr by UncleRed99

This is really lovely! I especially love the melodic ideas.
However, I agree that it feels a little repetitive at times, particularly before 3:22. I listened without the score, so I can't give much feedback on the harmony itself.

From a listener's perspective, I think the piece could benefit from a few more changes in texture here and there. Nothing too obvious, so as not to disrupt the contemplative mood. For example, I really loved the change of texture at 3:22. More moments like that, might help reduce the sense of repetition while still maintaining its contemplative flow.

In particular, at 1:52, I found myself wanting to hear the melody an octave higher (perhaps doubled in octaves). As it stands, it presents a variation of the main theme in the same register, and my ears were asking for a change in tessitura at that point.

This is really beautiful and an orchestral version would be so beautiful too! Orchestrating it would also give you lots of chances to add variety with the instrumental colors.

Thanks for sharing!

14 hours ago, JorgeDavid said:

This is really lovely! I especially love the melodic ideas.
However, I agree that it feels a little repetitive at times, particularly before 3:22. I listened without the score, so I can't give much feedback on the harmony itself.

From a listener's perspective, I think the piece could benefit from a few more changes in texture here and there. Nothing too obvious, so as not to disrupt the contemplative mood. For example, I really loved the change of texture at 3:22. More moments like that, might help reduce the sense of repetition while still maintaining its contemplative flow.

In particular, at 1:52, I found myself wanting to hear the melody an octave higher (perhaps doubled in octaves). As it stands, it presents a variation of the main theme in the same register, and my ears were asking for a change in tessitura at that point.

This is really beautiful and an orchestral version would be so beautiful too! Orchestrating it would also give you lots of chances to add variety with the instrumental colors.

Thanks for sharing!

Thank you for your feedback! And I'm glad it was overall enjoyable to you :)

I have one question though... When you say "Change of Texture at 3:22" are you referring to the Key change? And that you suggest that there should be more modulations? I fear modulating too much may throw listeners for a loop, no?

1 hour ago, UncleRed99 said:

Thank you for your feedback! And I'm glad it was overall enjoyable to you :)

I have one question though... When you say "Change of Texture at 3:22" are you referring to the Key change? And that you suggest that there should be more modulations? I fear modulating too much may throw listeners for a loop, no?

There is a key change but, I was meaning mostly the change of tessitura and texture (in that particular instance, besides changing the key, you leave large gaps between the accompaniment and the melody, which contrasts with the previous measures in which the G staff was clustered with notes).

What I meant around 1:50 was not a modulation, but rather a change in tessitura for the melody. I might be wrong, but the same melody is played for the first time around the 00:59 mark, which, at the same time, is a variation of the main melody with which the piece starts.

As a result, while my ear does not ask for a key change (the initial Cmin chords from m.34 sound perfectly nice to me), when the G5 sounds, yet once more, somehow my ear is tired of hearing the melody always in that range. I think, at that point, it would really make it much fresher playing the melody an octave higher or even in a bass (with the melody played below the Cmaj accompaniment chord), starting it in G6 or G3.

For example, this is a fast draft I made of the initial measures when played an octave higher. Since the melody has already being played in around G5 for a few times, it might make it fresher going up an octave like this. The melody has some fast notes at times, so it cannot be played in octaves easily, but something like this might work at times.

Hope it helps!

1 hour ago, JorgeDavid said:

There is a key change but, I was meaning mostly the change of tessitura and texture (in that particular instance, besides changing the key, you leave large gaps between the accompaniment and the melody, which contrasts with the previous measures in which the G staff was clustered with notes).

What I meant around 1:50 was not a modulation, but rather a change in tessitura for the melody. I might be wrong, but the same melody is played for the first time around the 00:59 mark, which, at the same time, is a variation of the main melody with which the piece starts.

As a result, while my ear does not ask for a key change (the initial Cmin chords from m.34 sound perfectly nice to me), when the G5 sounds, yet once more, somehow my ear is tired of hearing the melody always in that range. I think, at that point, it would really make it much fresher playing the melody an octave higher or even in a bass (with the melody played below the Cmaj accompaniment chord), starting it in G6 or G3.

For example, this is a fast draft I made of the initial measures when played an octave higher. Since the melody has already being played in around G5 for a few times, it might make it fresher going up an octave like this. The melody has some fast notes at times, so it cannot be played in octaves easily, but something like this might work at times.

Hope it helps!

Thank you for the clarification :) I will consider it moving forward and update with any changes!

@JorgeDavid So something like this...? (Screen recording converted to MP3 of b.26 - b.49)

On 6/23/2026 at 4:34 AM, UncleRed99 said:

@JorgeDavid So something like this...? (Screen recording converted to MP3 of b.26 - b.49)

Yeah, that's the idea and one of the possible changes!

However, in this version you changed the melody at the cadence right before. In this new version the melody at the end of the previous section soars higher than in the original one.
I think, if you play the melody an octave higher, it is better to keep the melody prior to that in the same range as in the original version, since, otherwise, it breaks the novelty of the higher rang.

You could also keep this new melodic ascend at the cadence and that might add some contrast for the entrance of the original melody you had in G5.
Also, I think in both versions, one of the main issues is that the Cmin accompaniment chords are too loud. I would make those chords much softer and, in general make that whole section softer than the previous one (both melody and accompaniment, but specially the later).
Thiis dynamic change could also help quite a lot.

Hi, UncleRed99. This forum often seems so advanced that I hesitate to comment on others' work, but I saw your Chatbox and decided to take this opportunity to leave a comment. Please note in advance that I am a beginner.

Feedback/Impression:

First, I tried to look for the video by MK_Piano, which was your source of inspiration, but I couldn't figure out which one it was. As a result, I wasn't able to check how you developed it, though I was very interested.

In my honest opinion, while I did feel several transitions and the descriptive scenery based on them just as you intended, the piece felt a bit redundant. Assuming that redundancy wasn't the concept of this work, I felt that adding more dynamics to the left-hand chords could help improve it.

The new section starting from 4:16 is wonderful. To me, it felt like a temporary relief and liberation. When I first heard this part, I imagined strings playing in my head :) I didn't have any particular complaints about the part from 4:16 onwards, but as I mentioned earlier, the sections leading up to it felt a bit redundant. I felt this especially during the section starting around 0:30. Also, for the transition starting at 1:52, I thought it might be nice to halve the number of times the left-hand chords are played, or reduce them even more, to make the texture sparser and create a more melancholic atmosphere, and then burst into the open atmosphere at 2:33 all at once. The transition starting from 3:22 felt so abrupt that it seemed a bit disconnected from the concept. I couldn't think of a concrete solution, but I believe a smoother transition would suit it better.

P.S. I'm sorry if these advices aren't very useful, but I hope they help even just a little. By the way, I would love it if you could tell me what plugins you used.

Thank you.

Best,

Lithl.

Hello

It’s a beautiful ballad that stands out for its delicacy.

It’s true that some accompaniment patterns are repeated quite often. Particularly the quarter-note chords in a steady rhythm. Yes, I know that when this happens, many people say: ‘Ah, look what Chopin does in Prelude No. 28, No. 4’. That’s true, but in that piece – apart from the fact that it’s very short – those steady-rhythm chords are the essence, because the charm lies in the voice leading within the same chord.

There are many ways to explore changing that. You could even try moving the melody to the left hand and the chords on top…