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I hope you guys would like this composition. What are you comments on it? Where could've I improved it? Also, I hope my use of the pedal was not excessive.

Hi, here's the complete sonata of which I posted the first movement a few months ago... I would be very grateful for your feedback!

Okay, so I never do contests or post "Works In Progress", but he wants people to compose a soundtrack to this picture of Mont Saint Michel, one of my favorite buildings and I used it as my last photo for my last track lol. So I took it as an opportunity to compose a new Gothic Action Piece because that kind of stuff is my jam. I don't imagine the tune will place at all, just because of the sheer volume of submissions these things get, which is why I tried to make it grab your attention straight away, and it's not perfect or even done yet obviously, but this is what I'm starting with. The final piece will probably be done in a month or two, and with IRL Violins! In the meantime, let me know what you think so far.

Here are a couple of suggestions from a formerly decent but now out-of-practice clarinetist: 1. Swap out the B-flat clarinet and opt for the A. Your key signatures, mostly 3 and 4 sharps, will change to 2 and 1 flat. The cadenza section is in 1 sharp but with accidentals you're asking the B-flat player to play mostly A major and E minor arpeggios, which will change to B-flat major and F minor, and those aren't any more awkward. 2. In the cadenza and the section that follows you've got a number of extended fast passages with toungued articulations. This is very difficult; and even if you have a clarinetist who has mastered double-tonguing (harder on clarinet than most other instruments), it will probably never sound as clear as you're intending it to. It takes time to stop the airflow (which is what you're doing in double-tonguing half the time, not stopping the reed), re-start it, and re-establish the vibration of the reed and the air column. From a compositional standpoint, I like the overall feel of the piece, but to my ear the chord changes in bar 50-51 (Bm7-E-E7-A7) feel jarringly out of place. Like 2 bars of 1970s pop -- where did that come from?

I'm flattered that you think so. Are you going to enter Ryan Leach's composing competition on YouTube? Also, I liked your score. Great touch adding bit of that menacing brass at the very end. Most people I've seen score this just leave it all happy sounding there.

Welcome to the forum (and visit our discord server!). So, first I think I need to mention that posting two rather large pieces in one post like this and not splitting them into movements in the audio is cumbersome and I don't think many people will take the time to go through almost 40 minutes of music this way. Next time you want to post something over 10 minutes you should split it into parts, at least the audio, and maybe not post two long pieces in one thread, since one is already a lot of work to go through. And second, I went through the first sonata only since I only have so much time right now. On the first movement of the first sonata, I think there is just too much going on and I don't really see what is more important out of the various different themes you present one after the other. Like, you start with a pretty strong motive that goes on until measure 20, but then there's something totally different and by measure 41 you're introducing another motive you repeat, with a reprise of the first right following. Yet those 20 measures between 20 and 41 I don't feel have anything to do with either those themes. I think this is a problem throughout the whole piece to be honest, there's a lot of "padding," in my opinion, that doesn't relate or have anything to do with anything. Another example is measure 95 and the whole bit with the ostinato figures. You're introducing brand new material mid-way through the movement and, even if you keep using it later, it's a lot already. Never mind it then follows into a dance-like bit in measure 112 that, again, has nothing to do with anything really except that it resolves into the second motive from measure 41. As for the ending, I'm not sure if these movements are all attacca or what, but to me it felt that this first movement didn't really properly finish. I'm not saying you need a cadence, per se, but the first movement just suddenly ends. The second movement is a little more consistent, but I still have a problem understanding what is more or less important. The beginning of it is more of an "effect", with the real melodies showing up in the "largo" at measure 179 (why not reset measures to 0 in each movement??), but then it's still a bunch of music that I don't see has anything strong enough that can stand out as any kind of unifying theme, so it again feels like filler. Sadly I found myself tuning out of the whole thing around this point since there's very little to focus on and instead it just feels like you're going on and on with new stuff you do once and then drop (like measures 189 to 194). In 207 you start somewhat developing the starting section and that's more interesting, but then again new material appears in measure 215, instead of developing what you already introduced in measure 179. It ends up being like a weird rondo of sorts. The ending for this movement is a little better, there's a proper build up to the ending and I think it works fine. What's kind of strange is that instead of changing the character of the 3rd movement it the start of it feels like a coda of the 2nd. Which is why I'm asking if they're supposed to be played attacca. Also, is the main theme the one that shows up in 261? Or is the one from earlier at the beginning? Not to keep hammering on the same point, but long forms live and die on prioritizing material. If it's just a barrage of nonstop new material then after a bit my brain just tunes out since I can't keep track of everything, or it feels like none of it really matters since you'll jump from thing to thing without any consequence or consistency. Just repeating some motives here and there isn't enough, there needs to be more proper development of established material, or it becomes a chore to hear (for me) since I have nothing to orient myself with. If it was just a series of short pieces that were like this, I think it wouldn't be such a problem, but because this is 25+ minutes of continuous music the problem is very much amplified. And the 3rd movement's ending is also strange. You have a typical pause -> octave jump as the end, but the issue is that there is no build up to it, again, it feels like the whole thing just ends rather than going to the ending. All in all, there's some interesting moments and some interesting harmonic choices, but making this "a sonata" seems like the wrong choice for a structure. I'd much rather have this split up into several short pieces where you can work out each individual moment in and focus your ideas than a huge 25+ minute piece that is unfocused and overly long without any real justification for its length.

Heyo there! I'm back with more piece for The Six Adventurers. I guess the release of each pieces will not be in order, because some stories are still going on and some has stopped, and how I feel on the stories of each characters. I'm also planning to add a cadenza at the end of the suite that will contain the materials from the pieces that are included on the suite. However, the materials that will be more dominant in the cadenza are from No. 5 and No. 6 since it is about the events that happen after No. 6. So yeah, look forward for more pieces! (I have finished composing the first draft of the cadenza, I've decided to use the materials just from No. 5 and No. 6) "The Six Adventurers" is a suite which took characters from a role-play story to a musical level of interpretation. Each pieces are named after the characters. The suite is dedicated to a part of a role-play storyline from a role-play server called "Wild West RP" set in 1899 from the game Red Dead Redemption 2 with modded servers from the mod RedM. Here are the titles for each pieces: No. 1 : Bery, The Huntsman. (https://www.youngcomposers.com/t41558/the-six-adventurers-no-1-bery-the-huntsman/) No. 2 : Susie, The Gunslinger. No. 3 : Calvin, The Carolina Ranger. No. 4 : Enola, The Nightstalker. (https://www.youngcomposers.com/t41611/the-six-adventurers-no-4-enola-the-nightstalker/) No. 5 : Shadow, The Chief of Wapiti. (https://www.youngcomposers.com/t42316/the-six-adventurers-no-5-shadow-the-chief-of-wapiti/) No. 6 : Eva, The Mysterious Herbal Wanderer. The piece itself involves a character named Enola (played by RevieReyes on Twitch) and her new adventures in the state of New Alexandria after escaping an evil company who enslaved her for a long period of time. Please read the detailed explanations for more information about the piece! (just scroll for a bit until you reach No. 4). Sheet music has been released. Updated detailed explanations. Feedback is always appreciated!