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The music is fine if rather faint. I had the BBCSO free version which turned out to be unworkable for me. But I seem to remember controlling the velocity of sustained notes using the mod wheel. I don't know if you've tried it. In case not you need to set up a CC channel in the midi editor: CC1. If I've got it right, you "draw" the velocities you want in the channel by clicking (LH button) and if you want to select a group of bars (velocity values) use the RH mouse button to select. You can also click in the CC area to select "affect all events in channel' to change the 'volume' throughout. Unless someone else comes on with a better answer I'll pop back in the morning. There's also mention of CC11 (expression) or some such.

Oh nice, seems that I did not turn on whatever button I needed to be notified when there was feedback, epic facepalm. Thank you! I indeed have a fifth part of this, but It's worse imo. I'll upload it here someday. Thank you Peter! I do think the synth could be replaced with an acoustic guitar. I chose that synth because of the sound it had in musescore's soundfont. My issue when it comes to make music for some videogames is that I struggle to make things that could be looped without the feeling of conclusion at some part of the piece. I don't know Wintory's music (nor him), I just did a wikipedia search but seems I may have been living under a cave since I don't know the majority of the games for which he composed music (which are many) and I'm pretty sure I didn't play any 😅. I know other video-game composers like Danny Baranowsky and Koichi Sugiyama who I highly rate. I have never used youtube or actually the internet to learn compositional techniques, perhaps It's really true I've been living under a cave lol! Thank you very much for your feedback!

I really enjoyed your "romantic - turn of the century" waltz. Please get me a dance partner! As for the choral work ... I not so sure; it seems best suited for a string ensemble. Mark

I'll say a few words about the "invitation to the dance". It is quite distinctively a simple chorale/hymn harmonisation to my ears, with some interesting harmonies. You mentioned counterpoint. Simple chorale harmonisations are homophonic pieces featuring no counterpoint, largely due to the rhythmic regularity of all parts. This is a small detail but it nonetheless might play an important role to your decision making. Do you intend the introduction to be a polyphonic piece? If so, you will need to probably look for a different form altogether. If you wish to go ahead with the chorale texture, I think it's good practice to learn of the rules. There are many good sources online for free that help you with these. I don't think following a traditional Baroque harmonisation to the letter is completely necessary for this kind of style. For example you can probably choose to treat dissonances a lot more loosely. But at least some observance of the style should be given, for example, voice-leading, especially if your goal is to transcribe this for the orchestra. The only place which sounded off to me was mm. 11. The soprano B-natural clashes quite badly with the doubled C below.

There isn't a thing about this I don't like! The orchestral colors you employ here are indeed an eponymous warm and flaring. The rhythmic texture is breathtaking: organic and wild, yet with just enough of a foothold exposed that we aren't taken for a tumble down the melodic mountainside. I particularly enjoyed the harmonic language that relied so much on quartal chords. It really flavors the music with a richer, broader, and perhaps sharper contour. Thoroughly modern, as you said. Fantastic music! I look forward to the prequels and sequels.

I really enjoyed this piece! The textures were nice, and the melodic segments were expressive. If I made one note about the score, I think around m. 50 there was flutter tongue in the flute part audio, but not in the score? And something about the orchestration: due to the way the strings were divided into many parts, there was usually a very full string sound, often with four or six part harmony. By the end of the piece, I wondered if the orchestration of some of those parts could be mixed up a little... of course, this is just a personal preference. Also, in the context of a suite of pieces, the consistency of the strings might be a nice contrast to another piece. Thanks for posting!

One of these days you'll have to stop blatantly stealing others' music. If you ARE going to steal, make it a piece by someone obscure. Is it any wonder you're asking for ideas? You have none of your own and you aren't Rachmaninoff. Here's the piece you stole from. You just shifted it down a semitone. https://www.youtube.com/watch?v=YmSDDslA__M But... I relent. Here are a couple of totally original ideas for you. Maybe they can be added on: