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How do you like it? I'm mainly interested in a form discussion, how I can have a proper form but still keep it interesting but fluid.

hey everyone! this is a piece I wrote as the final of my Fall 2019 composition class. it's an homage to the great video game composer Nobuo Uematsu, famous for scoring the Final Fantasy series. here, I tried my best to adapt the "video game" feel to a more classical setting through piano, violin, viola, and cello. it's got three movements (or "soundtracks", as I like to put them), each modeled after a specific type of piece you'd hear in a typical FF game: I. "Quest Start!" describes our heroes at the start of the journey - determined, bright, optimistic. I was particularly inspired by things like the World Map theme, airship theme, etc. II. "A Tender Soul" is written like a theme for a motherly, warm character, perhaps with a sad backstory - bittersweet and lyrical. I was inspired by themes like Zanarkand and Tifa's theme for this one. III. "Into Battle!" is modeled after FF's famous battle themes, quoting its iconic bassline from the older games in the series - fierce, primal, wild. let me know what you think about the separate movements, along with the piece as a whole! I'd also love some feedback on things like string writing, bowing, articulation, etc. as I am a keyboard player and am rather inexperienced with working with other instruments. thanks!

I’m working in an AP Music Theory book and have a question that someone else with a better knowledge of music theory will probably be able to answer. In my book when talking about many things they use the four voice types as examples, but I write for instruments and don’t know which instrument would go with which voice type. Like if I’m writing for flute, clarinet, trumpet, and alto saxophone (this is just a random example), how would I know which instrument would go with which voice type and get the melody? I thought that maybe it was the instrument’s range but I’m not sure. Thanks

having a good knowledge of the different instruments' strongest ranges is key to assigning voice types to instruments. the instruments' ranges definitely play a part in this, but remember that ranges between instruments will often overlap with one another. I'll use your instruments as examples: the flute excels in ranges that extend above the treble clef staff, and will have no problem piercing through the rest of your instruments at its highest registers. for this reason, it'd be good to assign it a higher voice the clarinet has a beautiful, soaring quality in its higher registers (not too high!), and a deep, rich, tone in its lowest registers. it sounds a little bland in the middle of the staff (sorry) so it'd be nice to put it in its stronger registers for best effect. the trumpet has a great lyrical quality in the mid-high portions of the treble staff, and it is quite taxing to play above the staff for extended periods of time. at the same time, it struggles with lower notes especially in softer dynamic levels. finally, the alto sax is quite homogeneous in sound throughout its register, and a good player can do well in all its registers. basically, do some research on what range works best for your instruments, and what tone quality can be achieved in these registers, and use that knowledge to pick a voice for your instruments.

Hey, I’m new to this website but I figured it’d be a good idea to get advice from other composers since I’m almost entirely self taught with composing and I could always use advice. Anyway here’s one of my pieces. I use Finale and some of the dynamics may seem too quiet or loud for an actual player but I most likely wrote it like that for making it sound the most ‘realistic’ when Finale played it back.

I liked what @Kudo Anastasia had to say. I agree that you have a gift for creating melody. All of the other mistakes you made can be fixed with more effort and time. I think you might benefit a lot from learning more about voice leading—after you finish the books that Kudo Anastasia recommended. Nice job!

this is my new compisition, hope you like it. video: https://www.bilibili.com/video/BV1Pf4y1178o/

Thanks for the advice! I tried not to use all the string instruments that are typically used since I’ve only written for string instruments once or twice, so I wanna to get a feel for it first. As for the double voicing, I’ve been told before by a teacher that I should have a bass line play the current chord in the chord progression while another instrument(s) play the melody. I can do that but I struggle with having moving lines or not doubling with voicing without it being distracting or seem like multiple things are happening and sort of bombarding the listener. Again thanks so much for the advice it’s very helpful!

Just finished the first movement of my new project. The first movement is introduced by an 8-bar section (slow), follow by an exciting syncopated section. The development involves elements from both sections and goes to a soothing C major slow section, which is interrupted by the syncopated section inspired coda. Please enjoy 🙂

The opposition to pastiche composition has a common theme, one which I experienced at my school when I first developed an interest in it. It harbors the idea that music is the creation of an artist, and all art should contain artistic expression. Imitation of a style or composer from a bygone era, therefore, should not be encouraged for it will limit one's means to distinguish themselves within a school or tradition that countless others have already exhausted through their output. Whilst this argument has some merit, it is based on a number of misconceptions and assumptions that cannot be ignored if one is to think about it. As Simen points out in his quote by JS Bach, composers of the 18th century were more craftsmen than artists, whose craft centered around pleasing and relatable patterns. Many highly successful composers from this period were educated in institutions that from an early age drilled their students in such patterns by rote, to the extent that it became a second language. I think it is fair to say that the underlying practice of composers from the 17th and 18th centuries conflicts with our understanding of artistry (that is, if you associate artistry as something beautiful or profound that pushes boundaries and which may challenges people intellectually). It is no coincidence that popular music from this era is predominantly by figures whose mastery enabled them to set themselves apart from their contemporaries. But how can one begin to understand their art without looking at the context in which their craft was cultivated? The truth is, the practices of the 18th century musical world have long ceased to exist. There is much we do not understand and may never do. The attempted revival of their practices in my view, is more a scholarly exercise and Simen seems to do this better than others. I have observed that most who use this forum subscribe post-romantic models, and many have become quite specialized in their respective disciplines. An inevitable outcome of this is that people will project different things on other people's works. That is an important thing to consider when you are offering criticism.