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The conductors I've worked with don't care. Just want it to be stated if it's C (it's hard to tell when it's atonal, but if it's tonal it's easy enough). I always hand in a transposed score, I'm a neat freak with that, and I wouldn't want my horn parts to be hanging like my balls.....

Well considering this has over 2,000 views there must be a ton of lazy ignorant composers who prefer whining and ranting over what notes to write or not write rather than actually doing it and allow people (and animals) to hate, love or be indifferent to what sounds. The stakes are very low here --- why don't ya'll watch the movie Ratatouille and watch/listen for the critic's speech. PS. It is raining today and I am in the mood to be the scallopy armchair critic. Yes I am a sloth at this moment.

i don't hate composers

How about you stop writing this minimalistic crap you talentless hack. I would interpret a x3 above a measure between two repeat signs as playing it three times. There's no harm in adding a performance note to clarify, though.

Some unchallenging but enjoyable stuff: Burgmuller's op. 100 Fur Elise (obviously) Satie's Gymnopedies and Gnossienes (also obviously) Schumann's Kinderscenen Shchedrin's Humoresque A bunch of Mompou stuff Alkan's Transcendental Etudes (the most obvious of them all) Just adding to your list of potential rep pieces.

Bach is always good! I'd suggest maybe trying the Anna Magdalena notebook if you're really a beginner. I don't want to sound condescending, but the two-part inventions are trickier than they might seem, more so if you want them to sound musical and polished! Bach always takes more work than it would seem. I would recommend practicing all of the scales, both major and all groups of minor scales (natural, harmonic, and melodic). Every pianist should learn the scales and fingerings for them and such. What you should focus on is a proper balance of things you need and things you want. Learn a piece or chart that you want to learn, but make you sure you balance it out with about 60% more of stuff you need. Not only does this provide goals for you (being willing to work through the stuff you need to do in order to reward yourself with stuff you like) but it also provides something to look forward to before every practice session. Practice slowly when learning your music, and even after you've "mastered" it, go slowly back over all of the sections for accuracy. Once you learn all of your theory and are technically proficient enough to play a large portion of the standard piano rep, you're more able to put the stuff you need on the back burner and actually play what you want for 90% of the time. Just so you know, this takes years of dedication. But it's easily achievable for anyone with the focus and desire. So, get at it! :) Now, I know this thread is about rep, but I felt like I should say something. :P I don't want to step on your teacher's toes, if you have one. Good rep ideas: Mozart K1-K5, or if you're looking for something a little tougher, Haydn has some wonderful piano sonatas that are technically achievable. Clementi and Kuhlau have some fun stuff as well! You might take a look at some of their sonatinas. If you want something more romantic, some of the Chopin mazurkas are do-able, though expressively, they're an enormous challenge. Stephen Heller wrote some fine piano etudes as well, you might check some of those out. Anyways, I think this is quite enough to get started with, so have at it and good luck! ;)

This is some really interesting work here -- like J Lee said above, it's really very atmospheric :) I've often thought the sound of banging open 5ths seems reminiscent of a bell, or a gong, in certain contexts (like in Beethoven's 2nd Movement of the Moonlight Sonata, in the "Trio" section). This piece is sort of like a small etude for that sound. I think I know why J Lee mentioned perhaps making it longer -- after that climactic build-up at 36-42, especially in measure 41, it seemed like there was a lot more you could "say" regarding the bells and their "accompaniment", since you decided to sort of go the route of, "Ok, let's add a 16-th note flurry section here!" :hmmm: However, if that passage were performed at a slower tempo, with free rubato, I don't think it would give that impression. It's just something to consider. Some things I really liked about this piece was clearly the intention of expressive as the intent for the performer, which the midi can only portray so much of :nod: (Maybe this next sentence never occurred to you, and I'm reading too much into this, but it's something I happened to notice) I also think it's interesting how at measure 25 - 29, it's as though when the bells try to include a middle voice, they end up simply pulling apart and becoming open 5ths again as it modulates to B Major. It's an interesting and subtle effect -- maybe this can also be explored more? Thanks for sharing this with us -- I find it unique, in a way, and that's rarely a bad thing :happy: I enjoyed listening!

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.