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Fantasia i g minor. Fantasia for organ in the key of g minor. Multiple subjects and fugesubjects. Ps: The piece has not been editet yet, so there are som mistenkes. Both intentional and unintentional 🙂 Please tell me what you think SimenN

Here is my short three movement Suite for an attractive instrumental cast. At first I intended to compose a five-movement suite but I became father for the third time and I was not able to complete fourth and fifth movement until the deadline...

Hi, This is the newest movement of my orchestral project, Suite of Minimalism. I cannot decide if I am fully happy with it like the other two movements, and I would like your idea of how the ending could be improved, and if you guys even like it. Philip's Time Machine has some of my favorite moments of music I have written yet, but I can almost tell the second half of the piece sounds rushed. Maybe I am crazy though. If you guys agree and give me some pointers, I will probably spend more time working on it and be back here in another few weeks.

Congrats, a most accomplished work. 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. Not particularly aside from maybe a ballet episode in an opera. A happy piece What was your favorite part? What was your least favorite part? None. All equal - too many bits that caught my ears as it were. But I thought the ending was sudden - expected a couple of hammered chords at least. But you've already acknowledged this. Do you have any comments or critiques on technique, e.g. harmony, melody writing, counterpoint, orchestration, voice-leading, etc.? None. The orchestration sounded accomplished, balanced. I couldn't see the full score throughout as I'm working on a laptop but there was nothing to make me pause to have a look. I went for the overall effect rather than things to pick on. The slower waltz section was a little quiet though, given it was a contrast. How do you feel about the overall form? Is it effective? If I may say so, a little long. Do any of the parts seem impractical to you? It's a pretty fast piece with a lot of technique, so I'm curious if some of the parts are impractical. I don't mind them being difficult, I would only be concerned if they are borderline impossible. Like I said, I didn't check the score for fine details. Your ability with orchestration suggests you know what's weak and strong, have a good working knowledge of the instruments, balance etc. If you've made a boo-boo that would come out at rehearsal. 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. Feel free to put your "conductor hat" on and critique the "orchestra". I felt the rendering was a little blurry in places, the incisiveness blurred by the reverb. It seems a feature of Spitfire....could be me but the reverb in spitfire seems difficult to tame. It didn't mar the piece though, I've heard more blurry in the concert hall, particularly if that happens to be a church. The stereo spread was as I'd expect toward the middle or back of a concert hall. 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. Always the same with big scores - impossible to see a full page in a browser/pdf reader so it effectively means study, scrolling up and down. It looked ok from looking at various pages though. (The site doesn't allow me to open it in Adobe's pdf reader). Are there any composers this reminds you of, that I might enjoy listening to? Interesting. Only one came to mind. If it was a balletic interlude in an opera, Meyerbeer! Like I said an accomplished work that deserves live performance. Hope that comes to pass... Cheers, Quinn. PS, wouldn't it be nice to have a review option before posting?!

Thanks dude! I spend a lot of time thinking about these kind of things, so I always enjoy sharing with those who are interested. I see what you mean. There is of course a balance that must be struck, because at the opposite end of the spectrum the listener is just inundated with the "ta-ti-ti-ta" rhythm for ten minutes straight. That's why I tried to take it away for a bit so it's refreshing when it returns. For example, in the B theme it returns at the end of the phrase before pivoting to the new key: Then for the C section, since we've been hearing it for the last 3 minutes or so, it goes away for a while, only to return at the very end (pg.35): This is true, and I'm working on bringing more rhythmic elements into my music. On the other hand, one might argue that rhythm has become overly emphasized in modern music. Think about how pop music, and even film music, seems to put rhythm at the forefront, while melody, harmony, and counterpoint take a back seat. I would think a composer that writes good melodies would have a fairly easy time distinguishing themselves. Though I will admit it's a lot harder to bob your head to some fugues...lol. Thanks for your kind words and the time you took to give a very thorough listen! I thought I saw you say somewhere you were going away for a while - I certainly hope you stick around. I enjoy your music and your insightful feedback around here!

@PaperComposer In contemporary music Linear Harmony deals with the treatment of dissonance from the harmonic point of view. That is to say, how to use dissonant chords in a consonant environment. Of course it had been use before but was established in the 20th century. One example is a progression built on steps (tone, semitone) harmonizing a fixed pitch. Linear Harmony takes the chords not as vertical products but as melodic lines. One little example uploaded.