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Hi everyone My name is Stas Davidov an im an opera singer. Recently i got back to compose because all the situation with the coronavirus and i would like to know what you think of my new piece. Thanks and nice to meet you all, Stas

And by all means, experiment and come up with something you like. There's nothing special about what I came up with. My main point is that the harp is more than capable of a few adjustments to tuning, even while playing, so that shouldn't keep your piece from sounding the way you want it to sound. I found this link about the harp when verifying some of the points in my above post. It has a ton of great information about writing for the harp. https://www.harpspectrum.org/harpworks/composing_for_harp/composing_for_harp.shtml The below is from Wikipedia, is this the mode you used? Sorry, I must have just misunderstood from your original post. This is a style of writing I haven't experimented with much, so I'm always interested in understanding the thought process behind the composers who use it. https://en.wikipedia.org/wiki/Mode_of_limited_transposition#Messiaen's_list

A beautiful atmosphere you've created. I would have liked it if the music took off a little more at some point. For it's length it is okay, but I feel like you could have gotten more out this piece.

I woul d think a few pedal changes would not be too much to ask of your average harpist. Consider the below from Pines of Rome (three bars before Rehearsal 16 in the 3rd Movement). The last measure alone would require four pedal changes. For example, you could have the D pedal in the sharp position during m. 110-112, then in m. 113 switch the B pedal to the flat position and play D-sharp (enharmonic to E-flat) in the arpeggio. Then you could switch the B pedal back to natural in measure 116. It looks a little weird on paper but I think it should work. See below: Or however you would like to do it. I think something like this might add a little "shimmer" to this section. I hope I'm not out of line in suggesting this, I merely offer this out of appreciation for the wonderful piece you wrote. It's your composition, you are of course free to completely disregard everything some random stranger on the internet said. Like this? This is Messiaen's seventh mode of limited transposition, correct? Just want to make sure I understand.

Very fascinating piece! I especially liked the harp and strings at the beginning of the second movement (starting at measure 110). I wondered if I might ask you a technical question related to this? The harmony from m. 110-112 suggests F Lydian to me, and changes several times from m. 113-118. However, the harp continues the same figure in F Lydian, without seeming to adjust to the changes that occur in the strings. I was curious why you decided to keep the harp the same? Not to suggest there is anything wrong with it, I'm just curious what your thought process was. I also noticed in m. 119-120 there are some accidentals in the harp that are not necessary (the naturals on beats 3 and 4 of each measure). And also m. 120 in the Cello has some extra rests in the second voice that can be removed.

I love the swing rythm and the orchestration. Not so easy to hear compositions of the style in this forum. Congratulations! 🙂

Nice. Sounds like "Syncopated Clock" meets Harlem. What sounds are you using? This is waaaaayyyy to short. This could easily be five minutes longs@

Yeah, i am totally into it. beginning is very calming, like i am meditating. At the 1 minute mark it gives me kind of the creeps hahaha, very cool. the beat at around 2 minutes is very nice as well. Overall very cool and satisfying

very nice. it is really well written. I enjoy listening.