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Hello Vadrif, Actually, it's nice, but too short in my opinion. You already set the atmosphere of the piece and although I don't listen to this kind of music very often, I like it very much (so far). When you extend this piece, make sure that there is enough variation in instrumentation, orchestration, dynamics, harmony etc. Otherwise the music could sound too monotonous. One of the biggest nightmares a composer can have is a lack of inspiration. I have the same now in the last two weeks; I erase every note that I have just written down. Horrible! If you become lazy, I would recommend not to continue composing in this piece for now. Look for inspiration instead of trying to compose something without inspiration. Simultaneously, you can work on other pieces for which you do have inspiration and motivation to finish them. When you have inspiration again for this piece, try to extend it! Good luck! Maarten

Larghetto explores the possibility of mingling the old styles with the contemporary twists.

No problem! I always find it interesting to review others' works. After having completed the suite, could you please share the entire composition with us? I will then also review that piece. I am looking forward to it! Good luck!

Indeed, inspiration is the biggest limiting factor, and I posted this for that exact reason. I am out of inspiration on how to continue it, therefore the short result. I will follow your advice and will only continue working when I feel motivated. Spending time away from one's own composition(s) makes one hear new in-depth details and mistakes. Thank you!

Well done! The piece reminds me of some Bach pieces for Solo Violin. Have you taken works by Bach as an example? It appears to be, but I like how you add a new, fresh touch to the music. You have nice melodies, but they can be developed more, as ilv said. I agree with Luis; the score frightens me. I think Luis doesn't mean the notes, but the actual lay-out. You said the following in answer to him: The difference regarding lay-out between Bach's Sonata and your Larghetto is huge. Not to be rude, but the Bach's score is clear and easily readable and yours is much harder to read: Rests everywhere, not even merged (for instance. m. 1. two quarter rests can be merged into one half rest.). When you look carefully at the other voices (not the first) of the Bach's Sonata you notice that the other voices except the first have some places where they don't sound, but there are no rests notated. I dare not to say if you may leave out the rests in your piece, but at you can merge the rests that can be merged. Furthermore there are overlap issues: For instance m.4. Very awkward, because quarter note on the fourth beat is overlapped by a quarter-rest. You definitely have to take more care about the final stage, the lay-out, because this is what the performers see when they play your music. Make it as readable and understandale as possible for them. More about the music itself, I think this is a nice introduction to a set of contrasting movements. Maybe you can consider to write a suite for it to stay with Bach. Overall nice job.

Hi Vadrif, I love what you've got, but it needs to grow, It's a great start though. No one can really tell you how to proceed, but if it's a piece you yourself really like and feel it has some merit, then continue with it. For me, I would like to hear some vocals or melodic line over what really is at the moment, just a bass track with backing, it's lacking the icing if you know what I mean.

It sounds nice, but the score is frightening. I'm not sure if some triple stops by thirds are possible. But harder than that... some counter melodies with double stops in one line ¡¡!! I don't know,... If you're sure, then .. Great!

Sang by slovakian choir Omnia. Text by a writter called Jan Fratrik (in sheet accidentaly Jozef) was at a collection of his many poems to choose from to composittion at year 2015. Finally recorded at May of 2016 so I can post it here. Very simple harmonies, colors in the middle (although hard to understand words don't you think?). The piece was also reworked and the silent spots have been reduced, harmonies (especially at the empty ending cadence) reworked, some rhytm altered in some cases where the nature of the words demanded it and solo added to the middle part. Also transposed to f minor as I felt sopranos at the premiere had a bit of problem to have a clear f2) If you want I can add the reworked sheet music but unless so I don't find it necessary to put it here since the recording is in this first version. I'll try to translate the best I can: Girl of pale cheeks, you have the desires of swallows, soft, velvet voice smile always full of brightness. Girl...from the suburbs. With charm you know to wheedle, you won't say about beauty, when in shivers through my whole body I loose myself in a white dream even rhyme lost itself from poems, and heavy smoke from cigarettes. Stop oh stop the time, may it flows by us, may music sounds forever, on precious noon. To the girls...of our cities. (By no means my translation represents the poem in an aesthetic way. I translated it only so you may know roughly what is it singing about if you don't speak slovak language.)