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Hi, here my new composition. I wanted to create a dark and dramatic atmosphere with the use of brass and double reeds. It starts with a Trombone solo with a timpani triplets, with reminds me somebody knocking at the door heavily. And in bar 12 come the violins with descending sixth chords with a seventh tension on the first violins, that reminds me of heaven and the angels. The main theme with its full harmony comes in bar 18 played with the full brass section and doubled with a timpani triplet pattern on the tonic and the dominant. at bar 45 comes the second section, more lyrical, with a choral style and after that, at bar 72 comes a repetition from the beginning with a final coda. I don't extend more my explanation, you can see more by yourselves. Hope you enjoy and looking forward to you comments.

Delightful pieces. Nice to see a brevity of material. A few things to consider: I'd really like to see you explore more contrapuntal textures within your work. You have an excellent control of melody. Developing textures that add depth to your melodic/thematic/motivic ideas would greatly increase the scope of your works. These pieces are good examples of this need. The first rondo could benefit from more variety in the accompaniment patterns. I'd consider breaking up the overall 8th note pulse that you rely on throughout this movement. Also could be an excellent chance to explore placing the melodic material in other areas of the instruments range? The second rondo is a little more varied in terms of the accompaniment patterns. Again, I would consider adding some depth with the addition of some contrapuntal material. This would definitely delineate the various sections and add more interest here. The third rondo is perhaps the best of the set. The sections clearly interplay but... also are independent enough to stand alone. I'd like to see this fleshed out a bit -and expanded just a tad.

Nice pieces. Apart from the systems you use herem there is a basic principle of tension-relief. In some cases (as happens in III and I) it seems you loof for the tension most time. For example, in I the intervals are b2, 2, 4... dominating the whole piece. in III there are clusters like D#-E-F or the final chord G#-A#-B. It's not bad at all, but I miss the contrast of other relatively consonant groups. II and IV have a richer texture with good counterpoint.

without pissing off Jordan Peterson lol

Those notes are supposed to be played at the same time by 2 fingers, as 2 independent voices. One example of this happening by greatest composer is Bach's Inventio no.1 where he does overlap 1 note for each hand, near the final part of the piece.

Prokofiev On The Importance Of Melody I have never questioned the importance of melody. I love melody, and I regard it as the most important element in music. I have worked on the improvement of its quality in my compositions for many years. To find a melody instantly understandable even to the uninitiated listener, and at the same time an original one, is the most difficult tasks for a composer. He is beset by a great multitude of dangers: he may fall into the trivial or the banal, or into the rehashing of something already written by him. In this respect, composition of complex melodies is much easier. It may also happen that a composer, fussing over his melody for a long time, and revising it, unwittingly makes it over-refined and complicated, and departs from simplicity. I fell in to the trap, too, in the process of my work. Arnold Schoenberg On Artistic Expression Art is a cry of distress from those who live out within themselves the destiny of humanity, who are not content with it but measure themselves against it, who do not obtusely serve the engine to which the label “unseen forces” is applied, but throw themselves into the moving gears to understand how it works. They are those who do not turn their eyes away to protect themselves from emotions but open them wide to oppose what must be attacked. They do, however, often close their eyes to perceive what the senses do not convey, to look inside of what seems to be happening on the surface. Inside them turns the movement of the world; only an echo of it leaks out -the work of art.

However you interpret your future, let your musical growth be organic. Don't force it and don't bend to the demands of others, unless they're paying you. (😉)