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Okay now two people are saying it so I must be crazy 😂😂😂 also I’m glad that I was able to create something that worked both with a strings orchestra accompaniment and without that you were able to enjoy 🙂

You know, Peter mentioned that, and that is something I did in this update 😅 as it sits, listening to the playback, Personally I don’t see how much louder the right hand could be without it overpowering the left since I’m using musescore with VSTs, there isn’t any settings for velocity on each note like there would be if I were using SF3 or SF2 sound fonts. So what I did was copy/paste the piano part on a new grand staff, selected all left hand notes removed “pedal lines” from the selection filter, silenced them by unchecking “Play” in properties. Then I isolated Piano 1 and piano 2 to their own part tab, and adjusted the timbre / Reverb / Tightness in the Spitfire LABS windows, and added MuseFX EQ To the master track in muse mixer.

Thanks for your kind words, @PeterthePapercomPoser! Indeed the ostinato turning to its own "kind of melody" was one of the inspirational findings during the writing process. There was no meter changes, but ostinato does evolve as the track progresses. And this one was a very perceptive observation: While I actually can't hear it myself 😀, but it is there: I experimented with master volume in this particular moment in attempt to make the pause before the climactic hit even more dramatic. The idea was that it should not be noticeable though, so I thought I did it subtly enough to go without grabbing attention. I keep reminding myself there are people with much better ears than myself out there...

Hi @PCC! Haha yeah! But I don't think it would be rehearsed in the near future anyways haha! Yeah the beginning I am really lamenting myself with some touches of late romaniticism with those dissonance. Yeah maybe for b.30 I should. I should take note of this! And for b.170 hahaha! Look at b.569 too! I think all six players will hate me lol! I love the cello melodies myself, I always love cello and viola singing, they sing better than violin in their own respective high register! Thx for listening! Maybe you can finish the rest of the piece when you are very very very free hahahahaha! Henry

Hi @Ferrum! I love the combination of flute and bassoon plus the piano! Very nice writing for both the winds and the piano! All 3 instruments are given the chance to sing the melody and I like that! Very nice counterpoint in b.106 section! For me the modulation in b.129 is amazing! Very nice stylistic harmony and melody for me, even though I never play game hahahahaha! My fav.section is probably the Allegro Vivace in Eb major, so fresh and rhythmic there. I should have said much more but don't because like @Thatguy v2.0 I'm just listening without giving a shxt to analyze at all lol! Thx very much for sharing this unique piece! Henry

Hi @Frank R., Welcome to the forum! Just like @PeterthePapercomPoser a.k.a. PaperthePetercomPoser and @pateceramics said, this piece reminds me of Vaughn Williams, and for me also the works of our fellow member @Alex Weidmann! Also, just like Peter and Maggie said it would be great to invite some contrasts in the piece, but for a piece under 4 minutes I am satisfied enough with the contrast here personally! I also love this combination of instruments, so airy and light which fit the style of the music! I notice that it's always the flute on top of the oboe! I think sometimes the oboe can be on top of the flute as well! Thx for joining and sharing! Henry

Hey Kyle @UncleRed99, I agree with @Thatguy v2.0 for the right hand volume, it can be louder. Having listened to the orchestrated version, I love this version as well. Usually I don't like any piano transcription of orchestral pieces but this one is a piano piece in its own right. For me I think you can change the left accompaniment a bit as well for a 7 minute piece, but this one is nitpicky. Thx for your arrangement! Henry

Hi @Ben Callender, I'm not familiar with rock music at all but I like this. The glissando for the guitar is nice, as well as those jazz chords. The modulation to Eb minor in 2:40 sounds nice to me. 3:48 sounds very nice as well with the G#-A dissonance. I don't know why but the E major pentatonic ending reminds me of Vince's Orchestral Overture: Thx for sharing! Henry

I have perfect pitch and always sing la without using any solfege at all. Only until university I was forced (beneficially) to learn movable do. For me "La"ing all the notes is the best approach, using movable or fixed do disturbs me! Henry

For me, the 7th,

I've had this theory for ages for now. So I've been wondering if the solfège system one prefers to use affects pitch recognization. I've always used fixed solfège and had perfect pitch, but was wondering if there is a pattern. This poll could say something about that, so thanks for answering! (Any additional clarification can be posted below)

What? You didn’t listen to no.2, 4 and 8? You must hate the number of 2 and also its square and cube haha.

For me, all 9 of Beethoven’s Symphonies are masterpieces, just masterpieces in different ways. My subjective ranking is 9>7>5>3>6>8>2>4>1. The 9th is always my one of all time favourite pieces, only slightly lower than his own late quartets. The humanism in the symphony is just remarkable and just a global cultural treasure. I always love the rhythm in no.7, so full of life and vivacity. No.5, an all time triumph, and for me it’s more direct than no.3, though both are great! The calmness in no.6 is great as well! The final movement of no.8 is just ridiculously good! No.2’s energy is so good, as well as no.4, though no.4 less so for me haha. No.1, sorry, even though it’s great, I think Mozart wrote better classical symphony than no.1! What’s your ranking of the symphonies? Henry

My favorites are: 3 > 9 > 5 > 1 > 7 > 6 > the rest that I never even really listen to LoL

As discussed in the discord channel, I would like to ask which one is your favourite Beethoven Symphony(ies)?

Very nice! One thing you could do is raise the velocity in the RH slightly to make the melody shine a bit more, but as always, beautifully done. 🙂

I used to live in Eagle River, it's a shame I can't check out your performances 😞 But thanks for posting! I hope you receive some worthwhile entries

Agreed. I hear this as a collage of color. Perhaps if it continued, a high soaring melodic line to hold our ears would be welcomed, and I'd be curious where you would go from here. Lovely music so far.

I'm not used to this style but I stylistically I can't find any glaring flaws here. On a practical level, 1. Are you sure this piece is playable, and at this tempo? I'm not that skilled so you'll have to judge it for yourself, but those semiquavers thirds can easily tense up my finger muscles, and the repeated octaves..., and repeated thumb notes? like bar 178, and Mr. big hands like bar 169 2. voicing issues like bar 13, the crotchets don't mean anything if the next quaver you are just going to bang fortissimo anyway

Sorry, I should have been more clear with my phrasing

Hi @Atlantis_! Not sure which part exactly you consider to be the melody here. I hear many melodic parts being played at once - it gives sort of an impression of "blooming" which I think the title of this track is meant to suggest. There's a lot of motion in a spread and differentiated heterophonic texture. I think it's wonderful - I don't hear anything boring here! Now if you managed to continue it while also modulating to different key centers it would really create a delightfully rich composition! Thanks for sharing.

I meant improving MY playing of it, not the piece itself

I'm just flabbergasted that you found something to improve upon in a Mozart work.

Not sure if I am overthinking. But I think the melody is slightly boring

Also doing Indian classical singing But self learning Handel’s aria “Dove sei, amato bene”