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Another nocturne. Currently working on the score Nocturne in D Flat Major .mp3

RECUERDO.pdfRECUERDO.mp3

A piece for encouraging myself to be brave and strong

NIce work. I only would have need some pause during the piece.

A nice light orchestration .... quite sweet.

I like it, but I feel like you use richly voiced accompaniment much too often without a break. It's like eating rich food all the time - likely to give one indigestion. That might be part of the style but I feel like it would have given the piece a nice contrast because changing the accompaniment to be more sparse somewhere in the piece would give the piece a different texture momentarily. Also - for some reason I hear the music coming through the left speaker only. Maybe you can't record in stereo? I had that problem back on my old machine/set-up. This feels like a nicely through-composed piece and in a way that's an asset to your melodic constitution - it feels very improvisatory. But at the same time I feel like it could benefit from more melodic structure such as using periods, double periods or sentences to organize the phrases instead of connecting the melodies with chromatic fioraturas. Still - nonetheless enjoyable to listen to. Thanks for sharing!

It is a nice invention with clearly recognizable rhythms that make for catchy motifs. I think you might have a mistake in measure 28 where the clarinet has a G natural at the same time as the flute has a G#. Great job overall!

For me, a good work is one that is able to express just a little bit of what I want to. That means I need some "inspiration" which can come from any where, or anything. A thought, an experience, something I read, I hear, ..... But that's just the less part. The rest is work, or method,... The more composition tools you know, the better. It doesn't mean you have to use all, but it you know them, you can pick them and mix them, etc... And that's how a music becomes expressive. Even if you begin with a variation form or plan.... It's just a starting point. The raw or original material is only spot to go away, and make something new. So, all the techniques are ways of composition. What I don'0t like, and I've told it many times is taking and style and copying it, "as exactly as possibe". Yes, everybody does it, me included, of course. I see it as a way of learning an processing the techniques.... And I respect people who writes that music, and I like it. But come on, we are on the 21th century and many things have happened to ignore them. I doesnt' mean we have to be in avant-garde movements and things like that.... Anyway, music is always welcome. Having a method is hard, because it implies work. When I plan to write something "important" (by important I don't say long, but well structured), after I draft the first short ideas (melodyc, harmonyc, ...) I think of the style or styles that can fit to the mood I'm looking for. Tonal, jazzy, impressionistic, minimal, free atonal, dodecaphonic, polytonality, polychords, and a long, etc.... And even the combination of those. I think of the Form. Y plan the parts in the Form, drawing a tension-relax and climax pathway. I think in each part what instruments have to play the main role and how the will be added or not. And I begin to write, melody and bass parts first. Harmony and countermelody afterwords. Transitions, riffs, ornaments, the last. Dynamics everywhere (because they're needed). After all this, dependeing on the piece, there is a second phase of mixing.

I really love so much of what you've done! Great job Volodymyr. I agree with ^^AngelCityOutlaw that some of the dynamic changes take us out of the story you're telling.

Sounds good and fits the haunted forest theme well. I would say that the modulation of the strings and brass could be smoother, though. The dynamics have some very sharp increases and with them, some harsher resonances that could also be EQ'd down.