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I don't usually post here in this sub-board or make chamber music or any sort of orchestral compositions, I'm usually in the rock section.. This is actually my first attempt, I decided to do a very simple 'Septet', with the setup made famous by Beethoven: clarinet, bassoon, horn, violin, viola, cello, and double bass. All criticism will be appreciated, I have no experience in this type of music and would love to gain some. The composition itself is a mixture of rather horror or grief in the beginning, resolving into the satisfaction from the calm following anxiety. I hope you like it, if it's not very formal for an orchestral piece, judge it as music as well. In my opinion, I preferred the second part, what about you? EDIT: Thought it would help to add that I created this through D.A.W., no scores (I can extract a score per instrument but that's not very friendly). It's done through MIDI Notation or a technique similar to that, which when used to is much easier than one would think. I actually think it's as easy as scores are for who understand them, which for me I barely understand anything of them.

I like it very much! Especially in the second half as you said. I actually thought it almost ended too early: I liked where it was going and I wanted more in that direction. I'm not very qualified to give feedback but I'm almost of the opinion that it's too bass heavy. I thought it would've been nice to take the violin and maybe the clarinet higher over the other instruments?

I already feel a little more comfortable writing for piano since I started lessons, but I do tend to write things I'd have no hope of playing myself. :/ Very interesting about the name! I'm sure the International Secret Society of Noahs will grant you emeritus status.

To me, this is kind of like asking "why didn't Shakespeare and Chaucer write in Modern English? I mean, it's so much simpler without all those 'wherefore's and 'forsooth's!" Shakespeare could never have written the lyrics to a modern rap song--he had the same 26 letters and many of the same words, but not the vocabulary or the grammar. That doesn't make him less "evolved" than Drake. The analogy between language and music is so popular for a reason. Like language, music evolves culturally over many generations, and its grammar--the set of unwritten rules that determine how it is structured--is usually very complex and culture-specific even though it feels "natural" to someone who has grown up with it. Somebody who grew up speaking Russian and has never heard any other language will never randomly start speaking full-blown Spanish--even though Spanish is phonetically and grammatically simpler (and might seem more "natural" for that reason). I imagine BMB probably did play around with "putting a little bounce in their right hand," though--you don't have to go too far to find examples of swing-like rhythms in Mozart and Beethoven. I wouldn't be surprised if they improvised entire pieces in what we might consider "swing-time" today--but playing bouncy rhythms is very different from playing "proper jazz," which has its own highly-specialized grammar (to go back to the language analogy). I hadn't heard of Baldassare Galuppi before, and his stuff is interesting--I can see the Chopin analogy in terms of its virtuosity. But Chopin's music is structurally very conservative--take away all the chromatic frills and wide arpeggios, and you basically have the same kind of European folk music that had been around for centuries (and that Galuppi probably heard in his own time). I have to admit--at first I thought this was a silly topic, but it turns out to be quite thought-provoking (especially exploring the "why" of the question). Thanks!