Leaderboard

Thank for you listening. My first work in electro music "out of space" 👉👉👉 listening composition

I’m not young but I am young to composing. Is this an appropriate place for me to be? If not, any suggestions? I just recently, in the last month started putting little pieces together….

It might be called a "system break" or a "double slash" or something but don't quote me on that. It's used to let the conductor know that there are two systems of the score on a single page.

Thanks for the reply! It really struck me when I figured out the main section or the main waltz to this piece, I do find it a bit cheche but I really felt something when I figured it all out, I did have a re-listen after you mentioned the main theme repeats a little bit, I found I was mostly fine with the length and repetition. I do add the extra layers to the main waltz at the end then with the big finish however I find it's just right.

Thanks, Peter! I understand what you mean about the voicings. There are at times a lot more than 3 or 4 notes per chord and it can sound somewhat muddied when rendered with the playback software. I'm hopeful that in a live performance (should it ever come to that), the upper voices will be played stronger/louder. I've no idea whether such voicings are common among any demographic of composers; it's just something that sounds good to me, that suits my particular tastes. Thank you for taking the time to listen and provide comment!

Maybe the first theme's motives can be treated in inversion? I notice that both themes are continually uprising and creating climax. What about having an anticlimax in the development, just as Beetnoven did in his first movement of op. 130? Also, maybe elements from different themes can appear together, for example the dark semitonal transitional theme can appear with either of the 1st or 2nd theme. Can the head motive of the first theme treated in different rhythm and texture in the developmemt? I notice that it always appear in dotted rhythm and chordal form. What if the motive appears in diminusion, or in fluid quaver/semiquaver? I think the 2nd appears in minor theme will be a great suggestion. But will it act as the climax, or only as transitional area? These can be considered.

Ein schönes Klavierstück! but I agree Also, the ending is much too abrupt and would be better with a more-resolved cadence and ritardando. That's my only criticism

That's lovely harmony! If the accompaniment has more variety then it will be more beautiful!

Yes! This is a great community of people of all ages, and beginners as well as experts who comment on each other's music and share their music with each other. There's no guarantee that you'll receive feedback on any particular piece you post. But usually, if you comment on other people's music they're more likely to return the favor and listen and comment on yours though. Good luck!

Well let's start off by saying this song is like crack for the ears: Ok now with that out of the way, here's the ones that have left the greatest impression on me over the years: 1. Empire Earth Title Track: certainly the most epic music I've ever heard in its genre. Pardon the apparent low bitrate of this particular recording of it: 2. Megaman X, X2, X3 soundtracks. Though for the SNES, these tunes rocked, and were done so well you could easily imagine their sound as legit rock tunes. Megaman isn't aka Rockman for nothing, after all. However, now we have this awesome guy so we can no longer leave anything to the imagination: And while we're here with this guy, lets go to #3 as well, since he did a bunch of metal covers for Chrono Trigger as well. The game's music is hands-down the best complete work of video game music I've heard, with Frog's Theme being my favorite track: 4. last, and probably also least, I nevertheless very much like the title and hobbiton themes from the Lord of the Rings Vol 1 for SNES, even though the game itself wasn't exactly spectacular: