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Good afternoon everyone! I thought I would share a short piece I wrote a couple of years back: Brass Quintet No. 1. At the time I wanted to take a break from large scale pieces and just write something fun. I also have never spent much time on chamber music, so it was fun to do something different. The piece is in two sections: a fanfare-like section, and a staccato 6/8 section. A few questions for feedback: What effect does the music have on you? Does it conjure an image? Or a feeling? What was your favorite part? Least favorite part? Do you have any comments or critiques on technique, e.g. harmony, melody, counterpoint, voice-leading, etc.? How about the overall form? Is it effective? Do you have any comments on the quality of the performance in the audio file? I want this to be as good of a representation as possible, so feel free to point out any parts that sound unrealistic to you. How well does this work as a brass quintet? Is there another ensemble it may be fitting for? I have included a score, any feedback on its presentation? Are there any composers this reminds you of that I may enjoy listening to? Sound libraries: all are Spitfire Symphonic Brass Thanks for listening, I hope you enjoy!

I would like to be able to provide a score quickly. But for now, I don't have time. I see with pleasure in any case that this forum likes not to stay on the surface of things. So I take this into account and try to do it as soon as possible. Thank you again for your message! Hello! For my part, I literally fell off my chair when I read your message! However, I allowed myself to delete some "Very" so as not to saturate the computer flavors of the forum. So thank you merrci, thank you, thank you.... Regarding the issue of scores, unfortunately, for the moment these are only manuscripts on 3 or 4 musical staff with indications of instrumentation. I then enter the voices in the Daw, with different keyboards (either a clavinova for the piano parts for example, or with a small master keyboard, for orchestral parts that do not require a large ambitus). At this point, therefore, I try to make some attempts to recover the midi games, but I think it would be faster to start directly from a blank page under Muse score (which I occasionally use) because the quantification errors are too huge despite the simplification tools as you imagine to be all corrected and the waste of time is too great.I think about these questions, of course, but for the moment, I lack time because my job is taking over for the coming months in my free time. For musical styles, and concerning these two pieces presented here, there are all the influences that we all have in mind and that accompany our music journey: chosta, or Dutilleux, or many others, influences that are not always conscious (except the quote of 4 notes of Chosta's concerto, I don't know where in Reached! Haha). Some come from childhood or youth, or works encountered during studies, others more specifically that have been useful to me to find out for specific purposes (how Hindemith uses the clarinet in his concerto, how Mahler orchestrates the last dark brass ringtone of the last movement of his 6th which was used to me for a passage from another piece that is on YT, "the coming The ipad, another thing that did not exist in my youth and that allows me to take my music library with me everywhere). Not to mention Streaming subscriptions that are blessings for studies, while I remember the huge evil I had to find a record and a score of a Sibelius symphony when I was a student. Imagine, the dream of having almost everything that is recorded present every second in your pocket, in a device that is normally used to call and that is connected to the whole world. It's science fiction, I tell you!... (and the price it cost me at the time for a Schubert opera that I chose to analyze and which must have come from the end of the world, Fierrabras, if you know...) Orchestration: The most interesting courses were for me the analysis of the scores of Ravel, Mahler, or Messiaen. I remember in my youth the intensive work to orchestrate pieces for Bartok's Piano, Microcosmos. Or Messiaen's piano preludes, if possible respecting the styles of the composers. Or just watch how Wagner does it in Lohengrin! You raise a very interesting question about the distribution of instruments that can become clumsiness indeed. For me, some instruments are a bit like surprises, gifts of the musical nature. For example, I can't resolve to abuse the bass clarinet. When it appears, it's a different world. She must never become a bassoon... The same goes for the English horn that reminds me of certain nocturnal atmospheres and is in no way a serious Oboe, but has its own voice, and I'm not even talking about the few incursions of the low flute that reminds me more of the sometimes questionable orientalism of a Ravel than a flute. So, I totally agree with you. Both the jobs of these particular soloists must never be free or incongruous, and they must not be dissolved in banality. Moreover, the same is probably true for any solo passage entrusted to an instrument that may be less rare than those mentioned above. The bassoon is all kinds of characters in our unconscious, and not only in Proko. The horn, I don't even talk about it, (and it has nothing to do with the trombone) in short, we know all this. We also know that instruments can play in turn the main role of the scenario or a secondary role, or simply do figuration, or even just serve as an element of technique. Another very interesting question that requires not to rely too much on piano composition in the idea of orchestrating: The piano does not have the same animation needs. If we write on the piano and orchestrate literally, we have something that seems to skate in the orchestra. Which seems static. The piano has its own fields of force that are not the same as in the orchestra. On the contrary, it requires to be constantly animated by various means (but it may be a little long to develop here, I will come back to it). In short, my modesty may suffer from your praise and it's not good for my knees, because at my age we have osteoarthritis. When you become immoderate, the head swells and this accentuates pain in the ankles and knees! (I don't know if it's fun to read in English...) Sorry, I've been far too long! And with all this, I don't take enough time to listen to read and comment on the works posted on the forum. I promise, I'll start as soon as possible. Thanks again, K.

Hello there, 2 years ago I composed the first movement of a piano concerto in C minor. It was the longest and most developed composition I ever made. It took me almost 2 years to find inspiration again but i've finally made it. Therefore, here is the 2nd movement of this concerto. Took me 4 months to compose it. What do you think of it ? Any critic ? Piano_concerto_in_C_minor_-_II_Adagio_-_Camille_Fricot.pdf

Had this piece recorded, which was originally composed in 2021 as part of my Master's. Give it a listen!

Hello everyone, I am a little new to the forum and a (almost) young composer. To be very honest, I wrote a lot of music when I was young and then nothing until this year. 30 years of stop... It makes me a young composer! Haha. during my Covid isolation, agitated and feverish, locked in my office (which is also a small home studio) I discovered the fantastic possibilities of the samples. It made me want to try to get back to the composition. So this is more to be considered as a leg lift... Exercises, and the pleasure of having a complete orchestra at home. What I didn't dare to dream of when I was a student and it took 3 days to dialogue a DX7 and an Atari 520 st to get the sound of a rotten bell! So, I would like to submit two recent pieces, orchestrated in samples. One for Cello and orchestra (Reached Alert, which is inspired by a bad appreciation I had on a school bulletin), The other for piano and orchestra, which evokes these lucid dreams (pretext for moving from one disparate atmosphere to another). I hope not to abuse the forum for all this! Thank you in advance for your advice and attention

Hi all, wanted to share a piece I have written very recently, and get your feedback, Enjoy the listening! Julien PS: scores (and midi) available on https://imslp.org/wiki/Tableau_No.3_(Piaser%2C_Julien)

The Ballade in E-flat minor was written in 2021. Though it is written for solo piano, I had intended to write it for piano and orchestra, and may make a version of it for this ensemble in the future. The piece is about 8 minutes long. I hope you all enjoy it 🙂

yeah yeah I want in

I understand that transitions, when there is an important twist, are quite difficult. The change you made is strong but it sounds good. The part A is more romantic, but the B part sounds modern-bartokian.

Haha you can post more frequently here! I am sure there many new pairs of ears here for different approaches! I myselr always try and fail and try harder to make my music as smooth and reasonable as possible. I am sure you will have your perfect solutions after many attempts! Actually I am curious how to post our own works to IMSLP, since I assume it only posts works by composers with some popularity!

Hi @Henry Ng Tsz Kiu, many thanks for taking the time to go through my work and providing me with such detailed feedback, it is REALLY useful and truly appreciated! Thanks for such compliments, that's encouraging 🙂 One of the parts I had a lot of trouble with. I changed this transition many times, hence the lack of hindsight. That's exactly when a new pair of ears becomes essential. Thanks! Another part I re-wrote many times over, thanks for the tip, I'll explore that. Will correct those, thanks ! Yes, I find it really practical. Whenever a new version of a work is ready, I publish it... and former versions are still available. Again, many thanks for your feedback, Take care Julien

very very very very very very very very very very very very very very very very very very very very very very very very very very very what very very very very very very very VERY VERY ...cool music 😄 I've listened to these pieces a few times now. I REALLY wish you had scores available for us to dissect and follow along, but I'm guessing you use a DAW for input and they don't make the most reliable scores. Could you possibly delve into your compositional style and tendencies? Sure, I'm using my ear to kind of figure out your developmental procedure, but I'm curious on your take. For one, I LOVE how you use the orchestra. I love the modern take on prioritizing color and scarcity over bombastic romantic-era textures. Your two pieces never fail to deliver in this regard, and they delight and flourish throughout their entirety. I'm reminded of the large swaths of color and texture of the impressionistic composers, and although I don't hear too much relation in language, perhaps it's an influence in style and content? I will say, that when restricted to an ensemble, there's a sort of cohesion that takes effect in the amount of color available. A certain logic. Just be wary of your writing in the DAW, as colors can stream in and out, but it's nice when they make sense. For instance, if one instrument has a melodic line, but then isn't used ever again. Not saying your music does this, but it's just a trap I sometimes hear when listening to a "cinematic orchestral experience", like these pieces. I appreciate you offering us two well written pieces in this post as your introduction (and btw, welcome!!!), but keep in mind if feedback to grow as a composer is your goal, your music will be more digestible if separated with their own posts. And if you have more pieces composed that you're willing to share, space them out. A dump of several pieces at once tends to go unnoticed by most (except my main man @Henry Ng Tsz Kiu, you can count on him), and with the quality of your work, I would hate that each thoughtful presentation of your piece doesn't receive the attention it deserves. Overall, outstanding display of your compositional prowess, and again, welcome to the community! I'm glad you made the most of your Covid experience and turned back to composing, as at least I am very grateful to hear your style and talent resurface into wonderful works of art. You seem like you really know your stuff, especially in production value of your music. I strongly encourage you to poke around in our forums and offer any advice you deem fit; many members here could really learn a lot from your insight into composition and most would welcome any criticism you might share. Thanks for sharing, I look forward to hearing more of your works you grace here in the future!

Oh thank you for taking the time to comment this very very old work I’m not so proud of! Actually I’ve posted the 2nd movement of my C minor concerto this summer, would you mind take a quick glance at it?

Hi @mazeth, I really enjoy the harmonic colour in it, especially in the first and last sections, like the minor 7ths and half diminished chords! Reminds me some of Debussy's colour! And it's fitting to be a nocturne! For me the transition to the middle section in b.42 is quite abrupt with only a bar with 3 single G sharps. Maybe you can extend it longer to better prepare for the different mood and tempo! Also I find the middle sections quite dry without the pedals, maybe you should add them into it! I find the transition to b.70-83 abrupt again, and the section itself doesn't seem satisfying for me with only quick octaves in both hands. I think it will be better to change the left hand to quick thick chords instead of following the right hand's pattern. Maybe the effect is not as satisfactory also because of the lack of pedal here. It should be F double sharp instead of G natural in b.40. In b.78 and 79 some of the sharps are redundant. You are very cool to have your piece posted on IMSLP! Thanks for sharing! Henry