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This is a very old idea I've had for a piece of music that I've only just now gotten around to working for the solo piano. Technically speaking for a moment, the piece is basically structured ABABCDCD, with a recap of ABAB then the finish. The piece is about a bunch of rabbits coming around from all over the world and having a sleepover. They're sooooooo cute! :D :D :D I hope you enjoy this -- I've put an awful lot of work into this. Thoughts/comments/criticisms appreciated! ^_^ Thank you =) In case YC decided to hate me (or are rabbit racists), here are the Box.net links to the MP3 and PDF Score. http://www.box.net/shared/3zyack1zcs (MP3) http://www.box.net/shared/j8vm8dro0z (Pdf Score) The Solemn Bunny Parade

A piece I did a while back, taking inspiration from a few different sources (Debussy, a church I walked by, and Gregorian chant probably the biggest sources). It probably could use some polishing in as far as the dynamics and such, but the basis is there. Vesper Bells

Thank you very much for your reaction Siwi. It is indeed well said. Thanks again. Highly appreciated. Kind regards W.S.

Well said!

Firstly, that kind of language will get you banned. I am not the sort of busybody who delights in taking offence in behalf of absent minorities, but 'spastic' is crude, offensive and not a word you should ever require in a public space. Wolfgang, like the vast majority of users here, is trying to provide you with valuable constructive criticism, and you insult him in return for making a very reasonable request. We are not a review dispensing service and have no obligation to provide you with any feedback on any of your music, so you should be grateful that he is sufficiently interested in your work to ask this in order to be able to do so. Secondly, just stop and consider for a moment why we might be so insistent on having you put a score of your piece up instead of 'just listening to it'. Thought of any reasons? Here's five just off the top of my head. First, it means reviewers can point out exactly what they are talking about. If I want to comment on something you write, it's a hundred times clearer for us both if I say 'the D# in bar 56' or 'the timpani entry four bars after figure D' rather than 'some wind instrument after the loud bit a couple of minutes from the start'. It simply doesn't work with a recording. Second, it allows us to see things not apparent to the ear. If you write a melody for two bassoons, a horn, three clarinets and the viola section in unison, only the most experienced ear can hear that exact combination of instruments, and even then with difficulty if the recording is MIDI. Thirdly, many of us like to 'hear' the score by looking at it on the page rather than have a poor computer-synthesised version. Fourth, many things are easier to spot when looking at a graphical representation of the music. String bowings, articulations, phrase markings, instrumental doublings, and many more. Fifth, assuming you intend at some point for actual musicians to perform your work, the correct preparation of a score and parts is as important as the quality of the music itself and you should give it equal care and attention. Performers - and being a semi-professional one myself I can safely speak with authority here - hate badly written or badly presented parts, even to the point of refusing to play the work if they can. You can imagine what this does to the reputation of a composer, which is why all good composers produce a decent score and parts.

why not just listen to it all u stupid spastic

Hi, Ok, well, I listened to your piece following the score on the screen. There are some things which I would like to communicate to you, good but also less good. First of all, let me begin by saying that I like the concept of your work. I am unfamiliar with the first version of your work - at least it does not ring a bell - hence I cannot compare between the two versions.. Unfortunately, when turning to the score , there are some things I would like to mention: you open your work with a pianochord on d minior, whereas the indication placed at your key suggests a different key (Sib or g); The chords used throughout the entire score are rahter "full" chords, sixth, seventh, ninths elevenths, are in a minority which would make your piece lighter. Secondly: i understand the question answer principle with which you open (page 1 9-12) but I would have written the flute one octave higher, evt. would have opt for the piccolo, the contrast would have been better I think when the oboe answers. At 13, the answer of the oboe, the accompagment becomes really flat but perhaps that is intentionally done. Before, you used full chords, and then suddenly you go to just a D played by piano bassoon and sax. This obsession with "d" continues the entire p 2 as well as p 3. In 25-26, you elaborate in the orchestration, but what the have to play remains very "basic" a d and an a-d, Why not use a pedal note, why not elaborate on enforced notes, Furthermore, it strikes me that you use sets of three of four instruments to play the same melodic line, as in e.g.p 7 (fl 1-2-o<img src="http://network.youngcomposers.com/elgg/ipb/public/style_emoticons/default/cool.gif" alt="B)" /> (cl 1-2-3) without having a difference in altitude nor in notes (kwint, sixth, third position)., p. 6: horns). This is ok when done for a while to reinforce a melody so it is clearly presented but flattens your piece when it is done throughout. p 9 last measure with the fermate: the trombone goes to a in F key. Personally - but that is my way of working - I tend to change to a different clef (do not know its name in English) 4 line Perhaps I change key too often, but personally I am convinced that it reads easier than those small line above the system (until now had no complaints by workingso). These are a few remarks I wanted to share. As said, I like the concept of the work, but even after a thorough reworking of the piece, I still think it needs a ... rework... <img src="http://network.youngcomposers.com/elgg/ipb/public/style_emoticons/default/smile.gif" alt=":)" /> Keep up the good work though, I am curious to see the final result Kind regards W.S. P.S.: I thought of this last night in bed, overthinking my commentaries about your score... It seems like you started orchestrating this while not using a pianoversion (sketch version) of your piece. If you would make a pianoversion of your work, you would see that for 90 % of the time you would see that you have only two lines (a melodic line and a base line) practically solely consisting of one line of notes, thus leaving out the middle harmonics. When you look at other piano versions of a score, you would see that there are more notes than just the melodci line and the base line.