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I always wanted to make something electronic, but I'm pretty bad at it so, here's a sketch of a "piece"(?) that is mostly electronic. Just audio because, is hard to write a sheet of this. is not finished Btw it is a 6/8, and if it helps, the progresion is Im, IIIb, VIb, V in C minor. Any comment is apreciated :3

My Piano Sonata No.1 in F Minor composed in 2018. The sonata has 3 movements and is written in a romantic style. The first movement is in rondo form. The second consists of a prelude and a short fugue, and the final movement is more free in its form. The sonata is inspired by some of the works of Chopin and Beethoven. I'd be interested in any feedback. Sorry about the awful recording quality.

hmm, not too bad. i would probably suggest some dynamics in volume for little percussive bits like the hats, especially near the beginning. interesting style for 0:25 onwards, but i do like what you did with the bass at around moments like 0:17.

It's why I just said care is needed. There are exceptions to all the rules. If you're writing classical CPP stuff, it may be best to write the strings in 4 part harmony like "the greats" did, with the DB double the cellos at the octave down - sometimes exactly, sometimes pizz or rhythmically broken up but still following the cello part. As things developed the DB has been given greater independence. As you spotted it all depends on chord layout too. There are times when you want a dense thick sound in the bass and the process is as applicable to brass and w/w as strings. E.g unless it's a featured solo, composers rarely give the double bassoon an independent part but if you wanted a grumbly, threatening effect, primeval things creeping up out of the swamp! that might just be the thing to do. Ordinarily, if you want clear sounding chords and harmony you put the big gaps at the bottom and follow rules like don't double the 3rd if you can help it (except Va to VIa) (aside from the doubling of cellos and basses. After all, that's a reinforcement issue rather than timbral.) Anyway I've already commented on this person's efforts several times with no acknowledgement or thanks when I really should be putting time in on a project even if stalled by this latest virus thing) so I won't be commenting again. This composer has all the hallmarks of someone trying to orchestrate with almost no study of orchestral writing. Rather than churning out more stuff her/his time would be better spent studying a Beethoven Symphony score. I'd recommend his 3rd or 4th Symphony - the latter, peculiar for several reasons.

I love how people 'prepare' for this disease by stocking up on milk and eggs. You know things that perish within a couple days. It's like possibly being denied their fruit loops and milk on a given day will be the worst but they don't really care about starvation that much.

Ok, I've said this in response to another of your pieces, take great care if you give the double basses an independent line in a tonal work of this kind. It's going to make the bass sound muddy. The solution is to rewrite the string harmony with the cello playing the bass line. Then you can double it with the basses playing pizz - not just on the first beat; sometimes the 1st and 3rd beat, sometimes the 1st 2nd and 3rd. There are lots of things you could do with the bass line though.

A prelude I have composed yesterday. I hope you like it!

It's a simple influenza with a bit of more issues. Only old people or people with diseases as hypertension are most probably to die. The chance that someone healthy or even normal is going to die is 0.5% more or less. Even counting vulnerable people it's still lower than 2.5% mortality rate. Don't panic, that's simply stupid. Wash your hands and try not to expose to the virus (touching with the hands things in public places or contacting people phisically without being able to clean your hands/face)