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This is a piece for wind quintet that I've been at for the past few months. I really wanted to take a deep dive into quartal harmony, and it's been fun figuring out how to use this style for my own compositions. I'd love any kind of feedback, and hopefully you enjoy!

That last part makes me happy to hear. Whether it's good or bad, I'll always strive for individuality in composition. I don't care if 3 or 3,000 people like my music, I want it to be mine. It's so awesome you pointed this out! I really wonder how much the music we grow up hearing molds our musical voices, even if it's at a subconscious level. I especially can hear the similarity from bars 145-152 to the Matrix. Very cool catch that I'm glad you heard. The very first piece I ever posted for the internet (basically the world) to hear was posted on this site. I still remember the comment I got on it, and it was about transitions. They were either nonexistent or abrupt, and I think that's something that really resonated with me in future works. I'm glad you found it seamless, it's something I pay special attention to. I'm really in debt to your help with this piece. If I had posted what I thought would be a legitimate score without your proofreading it would look like trash (can you imagine if they saw the key signatures? lol). You've freely given your time and shared your insight with so many of us posting our music. I and I'm sure many others sincerely thank the attention you give to all of our music, as well as all the work you do behind the scenes that they don't know about. I always look forward to posting a piece here with the hope that you'll be around to give a listen and share your knowledge.

Oh, I didn't pay attention to that but didn't think it was really confusing, I totally see your point though. Look how like in your image e.g. in M89 the score has already an stacatto in the 16th. What would you do in this case if you wanted to be super precise, untie maybe? Stacattissimo? I'd go for the Stacattissmo just for preserving the figure structure I guess. Kind regards!!

I commend you for writing a piece that never loses interest for the whole duration of 10 minutes! It has interesting harmonies, textures, rhythms and most importantly motifs and a super lucid and customized form. The style is also very unique and personally your own, although I am not surprised that the following films that I thought you channeled in your music made it in since you did mention that they're among your favorite. Namely I feel like moments of your music sound like music from the movie "The Matrix" and "Shawshank Redemption". Measures 58 - 64 sound like "The Matrix" to me - the scene where Neo is standing under a bridge waiting for Trinity to arrive. Measures 88 - 91 sound like "Shawshank Redemption" and definitely have a Thomas Newman kind of vibe to them. And when you sort of reprise that section in measures 207 - 210 also. But the most impressive part of this piece is how seamless it is and how smooth the transitions are in it - there's not an awkward moment. There's interplay between the instruments and everyone gets ample time to breathe with some well judged passing around of motifs that different instruments trade off playing. And there's foreshadowing of what's coming next in the form with seamless dovetailing/blending between sections of your piece. This is a truly polished masterpiece and I wouldn't be surprised if you win the Call of Scores that this was composed for! I'm looking forward to the live performance! Great job!

Lol I can see you like rich text editor. Some Dark piano I found on the web. Perhaps this one is wetter than others. Mostly depends on each nocturne, I tried to keep improving along the way. In any case, it is true that this one is extra wet but iirc not every nocturne is like that. Regarding your 2 next paragraphs, as I may have commented somewhere I am always glad to read any kind of criticism and different perspective of my works since I tend to have a very particular way to understand them. I hardly ever analyse them like I would do with other works of many other composers and your comments always make me re-read the score to listen precisely the points you make. Nice! This nocturne was not much of a headache to me, I had it pretty clear but I honestly didn't think much about structure, not as I did with 11+ I guess. In this case, ideas came without forcing them. It's even hard to say for m...Nah, mine is twentieth by far, but dunno if I eventually publish them all I may make some kind of poll haha. I am glad to read your words here, specially the last phrase. Perhaps my "deficient" classical background has to do with my not very formulaic approach to pieces. We'll see if this is maintained next episode lol. Well, as long as I don't end up under a bridge with no way to write music I'll keep doing it as well as providing feedback to users in YC 😎. Again, thank you so much for your feedback, I'll remind your words today. It's gonna be a long one and my rest was scarce, but this has motivated me enough!! Kind regards, Daniel–Ømicrón.

Thanks guys for checking it out! Haha it took longer for me to write this one, but I'm happy with the result. Glad you enjoyed this, thanks my guy Thanks for listening Henry! I was actually very worried about this, I kept thinking I needed faster tempos to keep it from being boring, but I'm glad you sided with my intuition. I'm also happy you dug the quartal harmony. Too much of what I've heard with it wasn't to my liking. I think the moment I thought of the chords as stacked 5ths rather than 4ths lead me to a language I felt I could do something with; I guess it just worked better for me that way. It's great you found it picturesque, I was hoping for that...thanks! I recently upgraded my ancient version of Sibelius to the current one, and added Noteperformer. It works very well with Sibelius since it's integrated. Normally I was dragging midi files into Ableton and using sound samples there, but this is much more efficient. If I were writing for a film, I'd still do that, but this gets the point across for much less money. I submitted this to a competition, so I was extra paranoid with the engraving 😄 I thought about this too, and had a version where it ended on a major chord. But in the end, I chose to stick with the language I was working with and added the little motif. I think either could be fine, but I did share that sentiment as well Hell yeah dude, let's get you to two followers!! Thanks again for checking this out everyone, my YC bros were quick to respond!

The digital interpretation is very nice. Is this Finale libraries or something like that? I like the care put into the score engraving; definitely a detail I always keep in mind and that I definitely value when it's considered by other composers. Now, regarding the piece itself, it really sounds grandiose, peaceful and majestic (sometimes one of those three, sometimes all three simultaneously): trills don't bother (on the contrary, they embellish) despite being a constant for quite a long time near 5:30. Everything is beautifully constructed. I don't get bored, these ten minutes passed like a breath (replaying now). The rhythm, mostly led by the bassoon, fits very well with the rest of the melodies and "stuff" going on and it's precisely the very nicely achieved contrast between those rhythmic sections and the more paused ones where I find that this piece shines. My only criticism would be about the ending which I felt not conclusive enough, but I suppose this is typical from quartal harmony pieces due to their nature. In any case, congratulations! This is another successful solid piece I'm glad to have had the chance of listening. Sharing it on my TT if you don't mind (I have like 1 follower anyway, lol). Kind regards!!

What a great use of the quartal harmony! So fitting to the dawn you want to depict! The harmony is so refreshing! The quartal harmony are kept being used but I can't find any moment that is boring! I can feel how vivacious that is! I can imagine the dawn you create! The birds are humming in b.96! My favourite section is b.64-88. So serene. Overall that's really great descriptive music!!

It should really be your fifth nocturne! The interval of fifth is persistent throughtout the piece!! Like Haydn's Quinten Quartet, that's a really good motivic and linking material for the piece! Great variation skills displayed in the piece. I love how you use that fifth interval to link the whole piece. The choice of B flat minor is also great. I think it's cool to have the quaver beat at the beginning, and later left hand figuration is also varied. I do find bar 91-94 quite detached, after having pedals all over the piece. I love the ending so much! The running and falling semiquaver really flows fluently. Your variation form is really organic, like that of Beethoven's 109 and 111. The intensity is going up and up, rhythmic values become shorter and shorter, and the theme is evolved, cut, superimposed etc. to exhaust it and give new meaning. I myself is not a composer good at variation skill, so definitely I have to learn something from you. Hope you will keep sharing music here and youtube! Kind Regards!! Henry

Well, well, well, well, well, well, well, well, WELL If it isn't another one of Daniel's infamous nocturnes... let's dive right in! So, immediately, and before getting too involved with the piece, I want to comment on your sound samples. What do you use? Your samples are very wet, coming from your reverb. They make everything sound blended too much together, without the crispness the piano can offer. I know you're using heavy pedal throughout a lot of the piece, but turning that back a notch (or several) could really bring out the clarity of your notes. Is this the setting you've used with your other pieces? Maybe I've missed it, but it seemed very prevalent in this one. As far as musicality, at first I was a bit disheartened with the constant quarter note rhythms of the chords, but as I re-listened, it grew on me, and I think it works. I love your pacing in this, constantly giving us the grim nature of your main theme, but varying it up accordingly. I really love the transition at bar 39, maybe even giving that a rubato type feel would bring out the character a bit more (this deserves a live performance for that). Reinstatement of the theme in a simple way is superb, and I love the key change at bar 51 or so. But to me, this piece really starts taking off at bar 69, and something I want to address now. I LOVE the form of this. I love how it evolves and evolves, and continues to develop. It's almost like an impromptu...like an ever evolving improvisation of your main theme. And then a tease of the theme at bar 85 with continued development? *chef's kiss* And then a delayed resolve at bar 97? DUDE You had me gripping my seat with anticipation. I LOVE LOVE LOVE LOVE LOVE LOVE the ending section... How you take us with the rolled chords to the end. Maybe...MAYBE you could have added the descending 16th notes of the original theme to the second to last measure. But overall, wow I'm impressed. Is this my favorite Omicron Nocturne? Eh...hard to say. But how you delivered your form was impressive. You put us on an incredible journey, and I think that was thanks to the improvisational element to your form. I've listened to a bunch of your nocturnes (and I'm of course excited to hear the others), and one thing I love about your style is that you're willing to vary up your delivery of your material. Nothing seems formulaic, and each piece stands with a character of it's own. You continue to impress me with your music, and no matter what happens in your musical career, count me in as a fan and supporter of your music, as well as your willingness to share your knowledge and opinions with others (the latter could even be more impressive than your music!) Well done, and thanks for sharing! Count me in as someone who will always offer feedback to your work, even though I'm just pixels halfway across the world to you 😄