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Hello everyone! I just finished a wind trio for two flutes and bassoon. I was not planning to compose anything like this but I was analizing the first movement from Bach's trio sonata BWV 1039 and I felt like composing something in the same form. Even though everything else is quite different, the form followed and the tonality is exactly like the adagio from that sonata. The different sections are as follows: Section A (bars 1-16): Theme in Gmaj and repetition of the theme in the dominant key, Dmaj. Section B (bars 16-32): Transitions Dmaj ==> Bmin and Bmin==> Dmaj. Section A' (Bars 33-48): Theme starting in Dmaj but moving to Gmaj right at the beginning. So both repetitions of the theme are in Gmajor. Sections B' (bars 49-64) : Same as sections B but in the original tonality: Gmaj ==> Emin ==> Gmaj. Also, the flutes interchange parts. Ending: Repetition of the theme for the last time in Gmaj. It is my first time composing a trio and also the first time composing for winds, so am afraid there might be some things impossible to play or many counterpoint mistakes. I am particularly worried about the need to breath for the players and also about the change of volume in the flutes depending on the range in which they are playing. Any suggestion, feedback, or comment is more than welcome. Thank you and I hope you like it!

In these difficult times this is a small piece I was working to: "Reach Out For". I wish you to reach whatever your heart desires. Stay safe https://youtu.be/y0Sf0KOivYQ

Hello, fellow composers! This is my first topic and first submission for a review of one of my compositions and I'm very excited to share this with you. I work with pen and paper, using a piano for the most part, and only in the later stages of each section of sketchwork do I continue refining the sketches through the Dorico interface. I usually expect to record this with professional musicians in some way or another, so I never spend any time fiddling with the digital performance of the work, to be honest. Because of this, the performance is decidedly robotic, but it still manages to give you an idea of the work as a whole, and I'm sure that your ear and imagination are good enough to be able to realise what it could sound like if it were performed by real, living musicians. (The audio attached is produced by Dorico running NotePerformer 3.) This work was recorded in January 2020 for Signum Classics with Kerenza Peacock (violin) and Huw Watkins (piano) at the Britten Studio in Snape Maltings. Sadly, I can't yet share the audios from that session, since the album will be released in March 2021 for the label's catalogue. Sonata for violin and piano in F major, R. 6 I. Adagio — Allegro assai II. Andante sostenuto III. Allegro con fuoco IV. Adagio ed intimo In my next posts I hope to share work with you that is still in progress so that any input from you will definitely have more weight than at this later stage in the work's life. Oh, I almost forgot! If you're interested in having a score to follow, or if I'm lucky enough that you'd like to perform this work in a recital or concert, please send me a message and I will happily oblige. Wishing you all the best, Rodrigo Ruiz

This is nice! I like your broad and expressive melodies, they really contribute to a somber and elegiac feeling. I'll echo what others have said about splitting the double bass part. Splitting the bass section is not unheard of in general, but I'm not sure I see why you did so here. As an example, in m.20 you have the first bass part playing a B flat, which is doubled two octaves up in the violas. It would make more sense to me to just have all the basses play the low G (as you have written in the second bass part). This way you would still get a very full G minor chord sound without all of the muddiness from having the basses play in thirds in such a low register. Also regarding the split bass parts, I'm curious if you intend to split a normal size bass section, or do you intend to have two full-size bass sections? It would make a difference it how it balances, but I still think you could have gotten away without splitting. Very nice music, I look forward to more!

Perhaps it works fine with two celli sections instead of two double bass ones. I think those B naturals are passing tones and they are OK.

Great work. I love this style. I feel part I and II well connected, but the variations are a break in the general flow. The gavotte goes back to the initial stamina (by the way, I think I hear some andalusian cadences here). Thanks for sharing.

Hi, nice use of chromatism as passing tones!

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