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This is the fourth of my pieces that were previously published here on Young Composers forum but got deleted during the renovation of the website in late April - early May 2016 and that I am choosing to publish again. As I have previously mentioned when republishing such pieces, they number 181 and I will try to post some of the best of them from time to time. This is my "Reverie for Double Bass". It is the very first piece that I shared on Young Composers, back on March 28, 2012. I am still fond of it. At the time I introduced it simply with, "This is a short Reverie for Double Bass I wrote."

I love cello!! Its great, thank you for sharing this. Could be used for a film/tv track. Suspenseful, curious, creeping, alarming... discovery

Hello. I think it's months since my last visit, but I felt like I should be here again. I learned a lot from you guys and my music just grown much better since I'm a member of this community.Anyway, It's autumn, and the weather is getting cold and breezy (I actually love that!). I had the chance to meet one of the most special people of my life. I had a long walk with her at the night. In a safe, beautiful and uncrowded part of the city. It took about half an hour to reach a place we could order cars to get back to our homes, but it was one of my most beautiful times. So, I decided to write a piece. I plugged my keyboard and started to playing with the chords and melodies coming to my mind. I could organize them to a piece. I recorded some EBow guitars (you can hear them as pads/soft orchestral sounds) and put them in the mix. I loved the result. I sent the track to her and she said that she likes it, and this is why I make the piece public. Hope you enjoy the music. And, I'm glad to hear your kind opinions about my piece.

Yes I agree. The effect you get is that of nostalgia. I don't inow exactly why, perhaps the combination of sounds, the soft pad plus the punchy piano.... But it's an idea of 4 chords... The pattern in 00:45 is a bit sharp.

It sounds preety nice. All I would argue is that looping your ideas makes up for a quite repetitive end-song. That's not necessarily a problem, but is something to be considered. Many times when one loops an idea from beginig to end, I feel like the piece becomes redundant, as the themes/harmonies/motif/etc. have the potential of going somewhere else, but the dont. At the end of every loop, you have the option of altering a few details in the piece that can make a big dierence. Also, it's important not to alter them randomly, as you can plan and cadence them to achieve greater effects on the long run. I hope it was of any help, Cheers!

Yes well that’s a common complaint. Understanding form and structure is a distinct skill from understanding voice leading and harmony. People naturally neglect the former because they would rather get stuck right into making music, with a little knowledge of the latter. William Chaplin wrote an authoritative text on sonata form, with case studies on Mozart, Haydn and Beethoven specifically. You will find that development is not actually hugely difficult to understand... a lot of it is sequential whilst moving through different keys. You have to know how to exploit your prior ideas. If you want to talk about this further just PM me.

I like the driving rhythm throughout. It's a very dramatic piece and the strong drums help to emphasise this. I think it builds well, with the strings becoming more coherent towards the end. I think that the phrases are well structured. What do you think will come before and after this? I can imagine some possible scenarios. Good job!

This sounds great in the context you described. It does have a hint of melancholy.

Should this be Outro to Intro? Or 2 separate intros to 2 different songs?

They could both be intros if you made the beginning a little more subtle and gradually add the 'attack'. I wouldn't use them as an ending due to their intensity.

Hello Guys, This is my latest track, Fairy Empire. If you like the fantasy or Celtic creatures like fairies, you'll love this song!

This is really cool. Could work with a certain type of video game... I would recommend you weave your way into some form of transition, where you break the boundaries you have set in the preceding bars. Like any story, we should depart from stability towards something more uncertain.

I really believe counterpoint is essential in tonal music (even in non-tonal, in other sense). Of course, renacentist and baroque music were totally focused on counterpoint, but classic and romantic period use it. Although it is more in the architecture of the piece, less evident perhaps, but without it, the music wouldn't work.

If you ever have extra time, take a look at Palestrina's music: 18th century counterpoint is comparatively way more lenient. Buxtehude ricercares are also great imitative pieces.

I have been arranging mostly Beethoven and Mozart lately. I figured it was time to change that and arrange a piece by a different composer. It has also been a long time since I arranged a piece for piano, either duet or solo. So I was wondering what would fit into a Piano Duet arrangement well. I immediately narrowed things down to orchestral works. I figured that for the best chances of fitting into a Piano Duet, I would want to stick to those composed in the Classical Era. I know from experience that Beethoven is hard to fit into a Piano Duet, not to mention the resulting arrangement being hard to play. This left me with only 1 other composer really, that being Franz Joseph Haydn. And of course, if I am going to arrange an orchestral work by Haydn, it is going to be one of his 100+ symphonies. The one I am most familiar with is his "Surprise" Symphony, probably the most well known Haydn symphony in existence. It ranks up there with Symphony no 40 K 550 and Beethoven's Fifth in terms of familiarity. The most famous part of that symphony is the second movement, where out of nowhere, the whole orchestra blares out a fortissimo chord. Another surprise in the second movement is the sudden jolt from C major to C minor. But, you know me, I always arrange the first movement first, even if it isn't the most well known part of the piece. I found that so far, Haydn fits pretty well into a Piano Duet arrangement, fitting better than Mozart and way better than Beethoven to the ensemble of a Piano Duet. So far, I have arranged the entire first movement of the symphony. Now, before you go on about impossible hand crossings, I arranged this for 2 Pianos 4 Hands. So there are no hand crossings between pianists, just hand crossings between notes played by the same pianist. This is the edition of the symphony I have been using from IMSLP: http://ks.imslp.net/files/imglnks/usimg/0/09/IMSLP494069-PMLP34746-2_IMSLP284343-PMLP461683-Hayd_Sinf_2.pdf Here is the first movement of Haydn's "Surprise" Symphony arranged for a Piano Duet. What do you think of my Haydn arrangement so far?

It depends on the context and what you want. They sound coherente together.