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It is wonderful!

This is very short, I know. The fact is I'm starting to learn about writing for the harp, which is fascinating. I know the notation of the pedal changes is unnecessary but I write them just for me. I love the sound of the harp and its possibilities. For now, I only want to do little pieces that are supposedly right, from the playing point of view. TULIPS.pdf

Interesting little piece here... 1. The 3/4 + 5/4 pattern in the "main section" is an interesting touch; why did you choose to use that? 2. Things could have more impact, especially when repeated. You start the first main section with sounds that have a very slow attack envelope, and I'd suggest either something is done about it both times, or it's changed in the second time, since it's so climactic where it comes in. 3. With such a versatile melodic fragment you repeat a lot, I think it's possible to go places outside of D minor if you ever chose to revisit this piece; harmonic development engages audiences when expectations are set. 4. The "climax buildup" at around 1:23 severely lacked the drive to make those next punches sound forceful or fulfilled. I notice a lack of percussion in this piece and I think it could really benefit from things that both define the beat better and help support things that are passing beats or off beats. It's generally nice! I just wish there was more. Cheers!

Xylophone, vibraphone, marimba, glockenspiel, are all members of the percussion ensemble with definite pitch, and played with mallets. Xylophone: set of wooden bars. Until some years ago, it had no resonators, but today most of them have. Marimba: set of rosewood bars thinner, longer and wider than the xylophone's. The resonators have always been part of it. Vibraphone: metal bars, uses vibrato or tremolo produced by an electrically driven series of fans located on top of the resonators tubes. It also uses pedal. Glockenspiel: steel bars. Usually played with brass mallet. (Taken from Adler's book on Orchestration).

MIDI files are normally harder for our members to open. If you have other ways of sharing the piece, it would be much appreciated. What I'm getting from the extraction I don't think is what you intended to write. For a first composition, I think you have a clear vision of what you wanted to accomplish, which is great, so let's start with just a couple things that I think stood out to me the most. *Crossed voices are used too frequently. We keep things concise in their temporal ranges because it lets the voices come out as intended. It's a little obscured here. *It can be even more fluid! Even in its skeletal form, I think I can extrapolate that the chord transitions can be done more smoothly. This can be done by focusing on the bass voice and how it moves and supports each chord within a nice tessitura and support the voice leading. Looking up "cactus firmus" forms would be useful to guide you. Good luck to you on this wonderful journey you're beginning to take! :)

What do you guys think about my relatively new piano work? I greatly appreciate your time listening to it and giving your thoughts! Thank you!

I. Way too sporadic for me. Too many atmosphere shifts. Extended harmony is cool, but doesn't have to be used in every chord either. II. You could have fooled me that this was a continuation of the first movement. Having this one be different is important. Critics normally pan works that have similar movement structures. Playing around with a D was an interesting decision. III. Despite the chord sounding fine, this sounds like accompaniment... Try to avoid using too much iv -> i IV. Best one here. Travels places harmonically and stylistically, but all feels coherent. The B minor chord, back to the G minor chord felt very awkward, though. Cheers!