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I think there are lots of good things in here. I listened to your older choral pieces on this site, and I think this is easily the best one yet. It's more rhythmically and texturally interesting and varied, and you do some nice things with text setting and melody, especially in the long melismas. I like the textures in spots like m. 13, where you have different levels of rhythmic activity in different voices, but the words are still intelligible because of the long sustains and melismas. It's a kind of simple polyphony that doesn't obscure the text. I found the score hard to read because of a lot of simple things you could easily fix. (1) When you have multiple rhythmic lines on the same staff, the stems of the top line should go up and the stems on the bottom line should go down. So the tenor divisi in m. 49 is one of the only divisi parts that's actually notated correctly; most other divisi parts (and the piano part in general) are hard to read because there are slurs and stems crossing over each other. (2) In voice parts, dynamics are usually written above the staff so the lyrics can go right below the notes. Compositionally, there's a nice sense of building in mm. 33-36, so I'm curious why the tenors and basses drop out in m. 37. The part at 37-40 really feels like the climax of the piece (especially given the meaning of the text... this is well done) but having only half the choir singing here undermines this sense of climax. I think keeping the tenors and basses in until the end of 40 would make this moment much more effective (and then having them drop out in 41 would really enhance the subito pp. You'd be orchestrating to match the dynamics, so to speak, rather than against the dynamics.) There are some very small issues here and there that might make certain chords hard to balance. They're quite minor, so I'll only mention a couple. Choral singing is such a rich sound that 3rds (especially minor 3rds) in the bottom half of the bass clef usually sound murky and unstable, so the downbeat of m. 31 would sound better if you just put the top basses on a G3 (and it would be smoother voice leading as well). And the low E in the basses at m. 11 won't come through at forte... so to avoid it being overbalanced by the tenors, you could double it up the octave in the upper basses (especially since a lot of baritones won't be able to sing the low E anyway). Lots of little things like that become more apparent when you hear the piece sung live... and this piece certainly deserves to be sung, so I hope you manage to get it in front of a choir.

Hi guys, I'm new here! 🙂 This is my first piano piece, the Russian March.

Once again thank you for listening and commenting on this one. Means a lot! I think it is quite a fantastic idea that you suggested there. It would have surely made the ending more conclusive and interesting! In fact I think I will modify the ending of the piece to do just that. Thanks again 🙂

I really like this piece as well. The score vid kept my attention throughout and was interesting to hear. I like how you play around with implying the parallel minor (G# minor) but are really in B major. As far as the ending goes, from my perspective there are three options that could make it sound more conclusive. Instead of just repeating the chord again, you could 1) change the register of the chord (higher for the right hand and lower for the left for instance is a common option) 2) change the chord to G# minor to further play with the dual tonality that you established from the beginning of the piece or 3) a combination of these two options. Thanks for sharing - it was a pleasure to hear!

Yes, a somnolent piece to me. I liked it because the tonal mood of the piece and the organ give it a certain half-light, if that makes sense. Your registration is partly behind that, just some basic 8 and 4 diapasons it sounds like, with just enough reverb. Your choice of stops has balanced the pedals and manuals well. May I ask, are you an organist? I'm not entirely in agreement with Peter about the phrasing but I see his point. I normally write everything in 4/4 but my music is rarely in 4/4 so the phrasing is 'all over the place'. In the case of your work, it indicated where legato is a must. The contrast between the long phrase in the left hand in bar 3 with the more broken legato in bar 4 right hand a case in point. A small point, however, and it didn't detract from the evolving piece at all. Great.

Your groupings of 8th notes and placement of dotted quarters here is a bit counter-intuitive: The 8th notes should be in groups of 4. So, in the first measure there should be an E 8th note tied to an E quarter note for rhythmic clarity. The music brings to mind the stained glass windows of a church. I like the cross-relations separated by more than an octave distance. Thanks for sharing!

Sweet production value here, and yoursongtitlesareridiculouslyawesome. Maybe a bit more development in your ideas though? Way back when, there used to be masterclass type posts from members in composition and orchestration. It'd be cool if some others like yourself would be interested in doing the same with production/mixing and all that