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Good evening everyone, I am excited to present a new piece I have been working on: "Sinfonietta No. 2 for Large Orchestra". I have been working on this piece since last December (with a few interruptions due to the pandemic and life in general) and just added the finishing touches this last week. I chose what you might call an "extended" sonata form, with a longer introduction, exposition of two themes, development, recapitulation, and resolution/coda. I am interested in any and all constructive feedback. Since I just completed this piece, I'm very interested and open to ideas on how it could be improved. Like my last work, it is a little long clocking in around 20 minutes, so I broke it up into "chunks" if you want to listen a little bit at a time: (0:00 - 4:12) Introduction (0:00 - 1:33) A piercing opening that leads into a stormy "Infernal" theme (1:33 - 3:48) An ominous theme that leads into a passionate proclamation (3:48 - 4:12) - Brief return of the opening theme (4:12 - 5:48) Exposition of Theme A, a thundering overflow of aggression (5:48 - 6:32) Brief Transition from Theme A to Theme B (6:32 - 8:19) Exposition of Theme B, a wandering chromatic theme underscored by a heavy ostinato (8:19 - 14:03) Development, referencing and expanding the themes above, while deriving a few new ideas from the themes as well (14:03 - 15:35) - Recap of Theme A, transposed (15:35 - 16:00) - Brief Transition form Theme A to Theme B (16:00 - 17:45) - Recap of Theme B, transposed (17:45 - 20:18) - Resolution/Coda, a somewhat impatient, but ultimately triumphant finale As you listen, there are a few things I would like to hear your opinions on: What effect does the music have on you? Does in conjure up an image? Or an emotional feeling? Does it tell you a story? This can be the piece as a whole, or a specific part or parts. What was your favorite part? What was your least favorite part? Do you have any comments or critiques on technique, e.g. harmony, melody writing, counterpoint, orchestration, voice-leading, etc.? How do you feel about the overall form? Is it effective? Do any of the parts seem impractical to you? I tried to challenge myself with this piece and as a result I wonder if I pushed the expectations of some of the instruments too far. For example, I included "optional" Eb and D clarinet parts for some of the higher clarinet parts, but I'm not sure if it was necessary. I'm also not sure if some of the string technique in Theme A and the "Infernal" section is practical or not. Do any clarinet players or string players have any insight? Do you have any comments of the quality of the performance in the audio file? I really want this to be a decent representation of how the piece would sound if it were performed live, since it is unlikely it ever will be. For example "I would have liked xxx instrument to be louder/softer here" or "The xxx instrument technique sounds sloppy here and could use some cleaning up" or "The balance in the xxx section was all out of proportion" I have included a score and welcome any constructive feedback on its presentation. And if you're like me it's a lot more fun to follow along with the score. Do you think "Sinfonietta" is a appropriate designation, or would you call it something else? If you could name this piece, what would you name it? Thanks for listening and I hope you enjoy! As always, if you liked something I did and want me to explain how I did it I am happy to do so. Or if you just want to tell me it's awful that's fine too. gmm

So, I'm trying to make a video game snow theme styled thing. Any ideas on what instruments I should use? I know that Piano would be one, and theres some type of Shaker-sounding thing, and also orchestra could be used too, but I can't do orchestra because I don't have it.

I don't really know what to say. This is really impressive! You have amazing knowledge of the orchestra's capabilities. The music was intense from beginning to end. I can't really give any constructive criticism about the orchestration, because I think I could actually learn from you! To me, it felt like a stormy battle between opposing forces of gigantic scale; demonic, angelic, earthly, otherworldly... and it seems like the just side won at the end, based on the mostly positive and consonant chords at the end. This is only based on personal taste, but I liked the slower and more melodic parts the best; I don't really have a least favorite part. I actually thought the audio quality was amazing! I didn't find any of the parts unbalanced, and to me it felt almost real! That's a real achievement in computer orchestral software! I kind of agree with @PaperComposer, I think I would have called the piece "Fantasy" as well. To me, the name Sinfonietta suggests that the piece will use a full orchestra, but will usually be lighter in style and of a shorter length, and would be more like a formal suite based on symphonic form (i.e. sonata, rondo), but smaller than a standard symphony. On the other hand, I don't think "Sinfonietta" is a bad name for the piece either, because really you can give it any name you want, whatever feels appropriate to you. I apologize if my comment isn't very helpful, but I didn't feel right about not saying anything about the piece. It's really a major achievement.

Very nice, gmm! But I think the Pesante section on p. 28 is too similar to the Pesante in Respighi's Roman Festivals (p. 10 of the full score). I assume that was the inspiration for this passage.

I found this fingering chart online: https://clarinetfingeringchart.com/understanding-the-clarinet-fingering-chart/ Honestly, it's been a while since I've played the clarinet and I don't remember how difficult it might be to pull off that particular passage. There are many alternate fingerings for the highest octave of the clarinets range so it's conceivable that it might be doable with the right fingerings but would take some practice.

Hello everyone, This is my new song, so feel free to listen to it, and I'm always looking forward to any comments. https://soundcloud.com/seraphus/wherever-you-go

You sure know how to spit these out don't you?! I like this one too. The form is well balanced. Have you ever considered calling your pieces Preludes or something else along those lines? There are many names to choose from in the classical repertoire besides just the form which you're using. I don't think I've ever heard of a classical composer who called their pieces the way you are. Of course, it's ultimately your choice but it might lend your music some more meaning/charm. I don't know why but at the end I hear your last chord resolving to C as if its an unresolved cadence not unlike another reviewer who recently reviewed my work and heard an unresolved major chord at the end. You do use a lot of secondary dominants especially in the B section. Overall a really enjoyable listen! Great job and I look forward to your next 'ternary form'.

Wow another over-achievement by the great gmm! I love this piece and I only hope that my critique will be worthy of its grand scale! LoL To me much of your melodic and harmonic language sounds cinematic but there are many sections that are virtuosic for various groups of the orchestra especially the winds and the strings. For that reason I was leaning towards, through much of my first listen, the title of "Concerto for Orchestra" (and I don't think you need to include the word 'large' in your title). The only drawback of that is that you don't really feature the brass virtuosically in this piece although I do love the melodies you have both for trumpet and for horn (and at G the brass does engage in some more difficult chromatic lines). My only gripe about the score is - why do you put the French Horns above the Trumpets? That just puzzles me. Usually Trumpets are at the top followed by Horns, Trombones, and Tuba. If you're worried about the constant down-bows in the strings, I don't think that's impractical. It's a very strong sound out of the strings that you were going for so that's what you're going to get with down-bows. I played the clarinet once and you only really touch on some of the highest notes on it that really need special fingerings so once the clarinetist passes those notes the coast is clear (I was looking at the run you have just prior to A). Your music contains many emotions and moods and would lend itself well to many cinematic/incidental situations. It could portray many different kinds of film scenes for which reason I think another appropriate title for it might be "Fantasy for Orchestra" or something along those lines. At other moments it has more neo-romantic influences such as Mahler. The surprising beginning chords and descending runs in the strings and winds sound especially Mahler-esque to me. You also have fanfares in the brass that are reminiscent of Mahler (especially in the introduction). I really like the part at 1:11. The melody there is very Mahler-esque also but I love it. The melody you have at 2:23 in the strings is very beautiful also. The strings and horns interact really nicely at 3:10 and I love the impressionistic harmonies you employ. I like the effect you achieve at 4:20 which sounds very ominous and threatening. It reminds me a little of Alan Silvestri's score to Back to the Future part II. And the way you resolve it with the harp glissandi is awe inspiring. The oboe melody you have after the 9 minute mark reminds me of Star Wars's desert theme (which is actually inspired by Stravinsky's Rite of Spring). I love the descending figure you have at 11:30 in winds and pizzicato strings. I love the chromatic development you have of one of your themes after the 13 minute mark. The Coda has a nice build to it and it's drawn out without being too long. The breath-taking breakthrough you have at 19:20 is amazing! Reminds me of the Grand Canyon Suite for some reason. Great finale! Just a note: Although I have referenced many previous composers works above, I by no means believe that you are copying anybody or deriving your work from others. You have an individual voice and I can hear the work you've put into this piece, whatever you ultimately choose to call it. I haven't looked at the score as closely as I should have and maybe I will at a future time but it looks good to me! Great job!

Sleigh bells, shakers, church bells, piano, Violins, women's choir, harp, horns, celesta, glockenspiel are common. Lydian mode, extended chords, woodwind runs, and octave harmonies are pretty common in those kinds of themes...

😮 The classical music equivalent of a mic drop. Fine job, sir. I can't even... find the words. The late Romantic feel combined with the rich sonorities was very, very refreshing. I'll have a closer look at the score later and perhaps come up with better feedback. Just... wow.