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Wow! I really enjoyed listening to this. It uses enough contemporary techniques to feel new and interesting, but not so many that it's inaccessible. I can't wait to hear the other movements. For me, a score would be helpful. On the other hand, not having a score forced be to really listen to the music, rather than just read it. I felt that the solo-ensemble balance was really good. Each phrase flowed naturally to the next. I loved the climax at the end. For these movements, it felt like the relationship between the soloist and the ensemble was often call-and-response, though not always. I think this worked well. Maybe later in the piece it could be interesting to explore other soloist-ensemble relationships? Also, might I ask if any techniques in particular guided the tonality (or lack thereof) in this piece? Thanks for posting this!

Must admit I felt the same. It needs to move out of that harmonic progression. At 1'36" for instance it went through the same chords and I thought 'that's not going to be repeated is it?' But it did at 1'50". At 1'36" another possibility is turning into the major key. As Tonskald raised the point about theory I won't make suggestions until you can tell us how acquainted your are with it; and as you haven't offered a score - but there are several ways you could change key and/or keep a semblance of the tune but change the harmony around/beneath it. A few dynamic changes wouldn't go amiss either. The basics of it are good but to sustain interest it needs more variation in harmony. Keep going!

I chose to omit the oboe at bar 94, where you point out, for reasons relating to interaction with the bassoon. I personally found it pleasant to have the bassoon reply to the preceding oboe part in the sub dominant key and I did not think it necessary to compose a countermelody to that response. The transition at measure 90 is D minor to D Major. This precedes a modulation to the subdominant (or home key of G Major) in the same fashion as the first part. I agree that there are still a few loose ends, some of which I noticed after I rendered the video. There are a few areas, such as the harpsichord part in bar 54 & 83, that I feel could be improved, as well as the bassoon part during bars 74-75 that could be spiced up a little. However I am pleased with the general structure of the short piece, in particular the tonal structure that I think maintains sufficient variety. Thanks for your comments.

The subtitle to this polytonal orchestral etude is 'A Repeated Query' since it is meant to portray a question asked insistently over and over again. This piece with high harmonic density is meant to be an experiment in polytonality and variation. This is actually a piece that I started many years ago in the sequencer. I then copied it into a piano partiture on paper and extended it using variation techniques. I am signed up to download the BBC Symphony Orchestra Discover Pack VST's but I have to wait two weeks before they allow me to download it, so this rendition was still made using nothing but the standard sounds from Musescore. The instrumentation is a standard orchestra with Bb Bass Clarinet, Contrabassoon, no Trumpets, no Tuba, Glockenspiel and Celesta. The percussion includes Snare Drum, Bass Drum, Woodblocks, and Tambourine. Thanks for listening and I hope you enjoy! If you have any constructive comments or criticisms please share!

The texture was quite relaxing and reminiscent of snowfall. Nothing sounded out of place musically. Hearing the same 4 chords over and over again, though, can be tiresome. If you know how to modulate, it can be very effective at breaking the monotony. The variations were good, but there is more to crafting music than just varying the melody over the same chords. You'll have to experiment, take some risks. I would encourage you to learn some basic music theory, if you haven't already. There are many great resources available online (a quick Google search ought to suffice). As a composer, it's good to know what tools you have at your disposal. Don't be discouraged, though! This is a great start and I look forward to hearing more of your works!

Wait a moment where's the Minor seventh jump in the bass line? I might be wrong but I don't see a single F# in the left hand, did the score change? Also, where's the E7sus4? I see a E7sus2 (E, F#, B, D) but not a sus4, there's not an A in M.7. Well apart from that I have more or less to agree with Kstoertebeker, there is an overall lack of coherence. Not that this is necessarily bad, however it does seem that you try to be coherent but you can only maintain that coherence for a few bars and then "go wrong". Or perhaps I'm wrong, not sure actually, but the more you compose the better you'll be so don't hesitate on revising your compositions up to the point they look decent enough to you. On a final note, there are a lot of "instrument solo" passages during the piece. You could try (as an exercise, a challenge, or well, do it if you want hehe) to make instruments complement one another simultaneously instead. Kind regards, and keep composing ^^!

Well first of all and it would have been nice if you provided a particella for the piano at least hehe, but anyway I read it and saw nothing impossible. That said, there are parts that seem to be technically demanding but not too much. Since I was focused on the piano I didn't pay enough attention to the whole work to tell you in detail, but overall I like it. There's room for improvement, that's for sure, it almost always is. Regarding the scoring, I presume you're using musescore or something similar, because musescore sometimes messes up silences, subdividing them when there's no need to like in bars 7-8, and I'm 99% sure it's musescore because of the way pedals are written in bar 27 (they overlap, yes, it's a musescore bug or something...Lol if you're using another software I guess there are common deficiencies across music notation software). I like the ending of it as well as some rhythmical parts that you have here and there, I like the timpani. The beginning of the song is very explosive, and I like it too, but some parts that you do using some kind of question-answer structure don't convince me (see bars 9-14 and then 14 to the piano solo for reference). Regarding the piano solo part, it's alright, but I suppose you would want it to shine a lil' more? I dunno, it's ultimately on your hand. The brass is powerful. Another thing I might be wrong about is the seeming lack of structure though some sound feelings do repeat over the piece (please correct me if I'm wrong, I would like to know if you analysed the piece yourself or you made it with a certain structure in mind or not) and it is true that the first passage you find in the beginning repeats. Well I don't know what else can I say that would serve you of anything so I'll just stop here. Thank you for sharing your work, it is always pleasant to listen to other people's compositions :B. Kind regards, Daniel–Ømicrón.