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***** 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. . ***** @Quinn, I get maybe four acknowledgments out of ten comments I leave. It's a problem around here, and it's just bad form.

Hello, I'm a pianist and I compose for almost 2 year now. Recently, I wanted to compose something for orchestra in order to improve my orchestration skills. I choose to compose a waltz because it's a light genre and i wrote a set of waltzes this summer for piano so I know the form quite well. Here is the audio : Do you like it ? Camille_FRT__Grande_valse_de_printemps_.pdf

Hello everyone! I'm Norbert from Hungary and want to share one of my pieces with you i've written 5 years ago. I included a little backstory for this piece about how i made a little "Fiverr Orchestra" to play my piece which i mixed in with Note Performer 3's samples. Please read it before making any comment, because context matters! Thanks for listening! Enjoy! : ) (I also included the original midi files, along with the recorded live files and also of course the final mix with score. Also i'm not promoting Fiverr in any way as i stated in the pdf, i just wanted to give credits to the musicians involved, because they deserve it!) Here's the link for the midi version: https://drive.google.com/open?id=1CaRCS_8gdb49YOsqAAbKMmhM5eFNbEUC

Could be problematic because oriental music doesn't follow western form. Its relevance in Chinese culture is less significant than "classical music" in ours because it rarely featured in religious ceremony. Of course, recent Chinese composers have tapped into western resources. i seriously doubt you could extend that tune to a few minutes without it getting boring. But...why not listen to a few tracks of traditional Chinese opera? Absorb it. It'll suggest harmonies that you can tap into. Do a google search on Chinese opera and click on videos. Some will sound strange and alien (because they are, to us) but bear with it and see what you can find. You could also try looking up music for erhu, guzheng, pipa (a kind of lute thing). There's quite a lot about that could help with form. Here's a nice guzheng piece:

I'm not sure if you are using the concept of leitmotif correctly. To me, the idea you have sounds more like a double period, which could make up for a theme, but not a leitmotif, as those are much shorter than the ideas you have here. Also, do you want us to compose for you, or do you want feedback on how to do it yourself?

Oh yes it did! I have a "dramatic script" behind all of the musical happenings in this. That's why this part comes out of nowhere. I will perhaps enhance the transition into this section, but this kind of juxtaposition kinda grew on me, so I'm not sure yet. Wow, I thought this was a really nice touch to the the section. This entire part is still up to discussion though, so I'll put a lot of thought into your advice 🙂 This is definatelly something I'm working on. I don't think it caused the problems I've encountered, because I wrote a couple other sections to be included in this location, and I don't think either of them actually worked. The stuff that starts on M130 is an example of that. I'm just trying to encounter the right balance between adding contrast, but not diverging too much from what I have until now, especially given that I don't have an actual reprise of any section. I will also consider your method of transitionning into this new material, and depending on how it goes, I'll keep it or will rewrite the new section altogether. Aw man, that's the best compliment one could get! Thank you a lot for your very kind words 🙂

Each of us grows best by providing our own insight even when we lack the knowledge that we are trying to encourage others to take up. That said, Beethoven's Eroica is an awesome symphony and well worth studying. I've never really been a fan of the 4th -though it's ingenious in its own right. I guess I've succumbed to the fact it's been overshadowed by the massive third and fifth symphonies.

We love you @Ken320!!!! You and @Quinn are both awesome assets to the forum. You both should be commended for upending the reviews here. They are well appreciated!

Yes, perhaps I was being a little precipitative there. Apologies. As Ken320 says, it happens perhaps too often. Lesson for me is allow just a little more time before "giving up" 🙂 It's a question of fitting in a visit here to listen to what others are doing between instrument practice, playing, composing and that dreaded stuff called "work".

(C+ = E+) = ([C E G#] = [E G# C]) = ([C E G#] = [E G# B#]). E+ = V+/vi in C major.

No. Unless you're doing a tritone substitution, a V+ chord has dominant function while augmented 6ths have predominant function. V+ is pretty normal rock + musical theater chord because the sharp 5 voice leads nicely to the major third of the tonic.

Well, if it doesn't sound convincing minor and that's what you want Don't play it that way. I always found that the V chord never sounded like it wanted to resolve to anything. So sometimes I augment the 5th to give it that grinding sort of flavor. I mean I wouldn't let the theory dictate what's supposed to happen, probably have to come up with your own chord for that point in the piece

@TheCluelessClariney Oh no! I kind of stepped into this. I didn't mean you in particular. Really. I just mean in general that people have gotten into the habit of not acknowledging the comments they get. And that is just my personal experience. I am always happy to comment when I can.

Besides that, I think the harmonies get quite repetitive. I think a lot of people write electronic music only thinking about loops, but it's much more than that. Try thinking about it as more of a flow than a bunch of looped ideas grouped together. The melody around 0:30 is very well-written and catchy, congratulations on that.

maybe add a synth wobble with some reverb high in the register to compliment the hi hats. Also I think it could use better sound design, I don't know what synth you are using but most of them have filters you can automate. It's a catchy tune but that's only half the battle in electronic music

Watch out for parallel dissonances (i.e. Nocturnal m. 6 in both right hands), and this applies for any two set of voices. If it's a short-term voice exchange it especially needs to be considered carefully.