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That's just the way( that we have to make) It's the hardest thing i ever did Stop thinking about you You were my addiction More than anyone at all I wish you could see all of that But you have goned You were my brother And you left me with nothing Not even a goodbye I couldn't have survived, Without you, on my life (Huh, uhhh) Now i realize How stupid i was, letting you go And all the verses While i wrote Was hurting See you happy And I, sad But you are my brother Nothing matter I'm glad to see you smile But that's just the way that we have to make But always remember This isn't a sad song Maybe the fact that you, didn't anything wrong Yes, you broke my heart But it is the way You and i separated, From each other (Ouh, ouh) I will just accept that, Even that you are goned, I will always love you Remember, brother my, I always be in your side, and i will always be there for you But that's the way But that's the way But that's just the way that we have to make.

The piece starts off with an introduction before breaking off into a fugue with a highly chromatic subject. This piece was an experimentation in contrapuntal writing, tension and rhythm. Any feedback would be highly appreciated!

Thank you very much for your tip! I was thinking about the same notation, and after I tried it, it looked a little crowded to my eyes (I'm not sure if that is the correct English word for that), thanks anyway! 🙂 In the past I ever wrote a solo piano music with 3 staff lines, because when there are too many voices in 1 staff-line, it makes my eyes a little dizzy, I can't help it, although I'm aware of that I have to make the sheet music easy to read for other people and not just myself. Thank you for your kind help again! I hope you have a nice day!

Sometime, my teacher called something I wrote "abstract music" because it was not written with instrumental voices in mind, but rather as a compositional exercise(in counterpoint). Having no better term at hand, I tried to express that your composition is abstract from the guitar and its playing style(what I also called "unidiomatic"). I also partially listened to your Soliloquy No. 33 for Violin and felt like it was certainly playable on violin, but did not make use of its special techniques. I am no violinist, of course, so I am inclined to trust your experience as a cellist. Maybe a few notes may excuse my imprecise expression: - small melodic steps(jumps are perfectly playable as long as fingering is kept in mind) - mostly monophonic(the six strings permit proper accompaniment rather well) Combining just the two notes, it would be more idiomatic to begin the piece in a higher register(c' for example), so one could sprinkle in some bass notes to emphasize the harmony(A minor is strongly implied, I assume you had that in mind). Again, if you are not aiming for such a style of writing, I would not argue against that, but it certainly is the traditional style of writing for the guitar and something a performer would expect. Another thing I just stumbled upon, concerning your melodic writing: Between the third beat of m. 2 and the last beat of m. 3, you travel down a fifth almost in one jump and a ninth upwards in three consecutive jumps. Of course, melodies are to be judged by the ear, but such large (consecutive) jumps are traditionally discouraged because they are rather hard to sing(i. e. not naturally melodic) or, here at the very least, not used as as means of heightened expression. If I were to sketch the melodic outlines, this would certainly stand out visually while not giving a sense of a melodic peak. Additionally, your isorhythmic writing(all quarter notes in the first six bars) makes the melody rather tepid; I would try to incorporate a rhythm just as you do in ms. 9-11. Then again, Ms. 12 f. seem sparsely connected to those before. At the intersection of harmony and melody, your first six measures could also sound more compelling if the implied tonic was approached via its leading tone(just like in ms. 14 ff.). In essence, apart from what I told you in regards to how a guitarist would usually accompany himself to fill out the harmony, I would try to make the melody more interesting, especially rhythmically. Maybe you could also carve out a motif; I myself find the four consecutive notes in m. 7 rather memorable. After skimming three of your pieces, I sense you might benefit from coming back to something you wrote down and try to elaborate on it(melodically, rhythmically etc.). Hopefully, this does not sound harsh and you can make good use of advice.

@Rabbival507 Thanks for your feedback!

Hello, Welcome to the forum! I hope you'll enjoy sharing your music and hearing others'. Although the forum might be mainly focused on classical composition, we're still open to other ideas! I do like this piece, although perhaps it works better as ambient background music than for 'active' listening. My main comment/criticism is that is feels almost a little too slow-burning. This is a feature of the style that you write in, but I think a greater climax could be reached. On a similar vein, perhaps you could explore the upper- and lowermost notes on the piano. More bass especially would be nice, after a while high notes can sound quite tinny and harsh on the ear. Just my thoughts. I think the best way would be to add in a third voice where the grace note is tied to a long note. You could then add a slur from the grace note to voice 1 or 2. Let me know if you need a picture example of what I mean - that explanation might not be very clear! Thank you for sharing your music aMC